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THE 


POETRY OF FLOWERS 


FLOWERS OF POETRY 


TO WHICH AKE ADDED, 


A SIMPLE TREATISE ON BOTANY, 


WITH FAMILIAR EXAMPLES. 


COPIOUS FLORAL DICTIONARY. 


' iifi 




ZDITED 

FRANCES sb V OSGOOD. 


NEW YORK: 

DERBY & JACKSON, 119 NASSAU STREET. 
1859. 







T N‘<oii o 

• . F4 0s i 

I •? 5*? 

Cop/ C 













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♦ 






\ 







PREFACE. 


Most of the prose portions of the following pages, 
have been adopted from an English work, entitled 
“ The Sentiment of Flowers.’ 5 The editor has made a 
few alterations and additions, in order to adapt it to 
American readers, and has illustrated the whole with 
poetical sentiments, original and selected 

As an apology may be deemed necessary for appa- 
rent egotism, in introducing so frequently her own 
effusions, among those of a far higher order, it seems 
proper to state, that, where an appropriate quotation 
did not immediately occur to memory, it appeared the 
shortest and easiest, if not the wisest way to compose, 
at the moment, a few lines or verses suitable to the 
flower and its sentiment. 



4 


PREFACE. 


The chapter on botany will be found complete with- 
in itself, and according to the most approved system — 
that of Linnseus. It will serve as an interesting intro- 
duction for those who have not had the advantage of 
the study in their education, and may recall to mem- 
ory its principles where they have been learned and 
forgotten. 

The editor can pretend to no erudition on the subject. 
Only Fancy and Feeling have woven a wreath which 
may yield neither bloom nor sweetness, unless the sun- 
shine of Indulgence, and the kindly dew of Sympathy, 
be suffered to play on its leaves 


F. S. O. 


I 


Plate I. — Frontispiece. 


ILLUSTRATION OF FRONTISPIECE. 

Rose. — Ivy. — Myrtle. 

To Beauty, Friendship, and Love 

Oh ! Beauty ! bright rose of the world ! 

Oh, Love ! the soul’s myrtle for ever ! 

Oh, Friendship ! fair vine round a breaking heart curled, 
Without whose soft bonds it would sever! 

For you a rich garland we braid, 

Breathing sighs of pure incense above; — 

It will bloom in the sun, it will smile in the shade, 

For Beauty, for Friendship, and Love ! 


I 


V. S. 0. 


I sing of brooks, of blossoms, birds, and bowers, 
Of April, May, of June and July flowers ; 

I sing of youth, of love too, and I write 
How roses first came red, and lilies white: 

I write of groves and twilight, and I sing 
The court of Mab, and of the Fairie King. 

Herrick. 

There’s wit in every flower, if you can gather it. 

Shjreley. 


INTRODUCTION 


Of Flowers, so much has been said and sung, that it were 
impossible to write any thing new. They have been called 
“ the joy of the shrubs which bear them — “ the stars of the 
earth and the “ alphabet of the angels and, indeed, as 
says Mr. Howitt, “ of all the minor creations of God, they seem 
to be most completely the effusions of his love of beauty, grace, 
and joy. Beauty and fragrance are poured abroad over the 
earth in blossoms of endless varieties, radiant evidences of the 
boundless benevolence of the Deity. They are made solely to 
gladden the heart of man, for a light to his eyes, for a living 
inspiration of grace to his spirit, for a perpetual admiration. 
And accordingly they seize on our affections the first moment 
that we behold them. With what eagerness do very infants 
grasp at flowers ! As they become older, they would live for 
ever among them. They bound about in the flowery meadows 
like young fawns ; they gather all they come near ; they col- 
lect heaps ; they sit among them and sort them, and sing over 
them and caress them, till they perish in their grasp. 

This sweet May morning 
The children are pulling 
On every side, 

In a thousand valleys far and wide, 

Fresh flowers. Wordsworth. 


8 


INTRODUCTION. 


• We see them coming' wearily into the towns and villages 
wiO their pin-a-fores full, and with posies half as large as 
the.aselves. We trace them in shady lanes, in the grass of 
far-^ff fields, by the treasures they have gathered and h ave left 
beh nd, lured on by others still greater. 

4.s they grow up to maturity, they assume, in their eyes, 
new characters and beauties. Then they are strewn around 
thei -i, the poetry of the earth. They become invested, by a 
muljtude of associations, with innumerable spells of pow ? er 
ovei the human heart ; they are to us memorials of the joys, 
sorrows, hopes, and triumphs of our forefathers ; they are, to 
all nations, the emblems of youth in its loveliness and purity.” 

Flowers to the Fair ! to you these flowers I bring, 

And strive to greet you with an earlier spring ; 

Flowers sweet and gay, and delicate like you, 

Emblems of innocence and beauty too. 

With flowers the Graces bind their yellow hair, 

And flowery wreaths consenting lovers wear. 

Flowers, the sole luxury which Nature knew, 

In Eden’s pure and guiltless garden grew. 

Mrs. Barbauld. 

Let Fancy lead us, with her fair imaginings, and it shall 
be in pleasant paths, and through flowery ways ; 

Go, cull the golden fruits of truth ; 

Go, gather fancy’s brilliant flowers ; 

and for a brief space let us Wander in an earthly Eden. We . 
will rove, hand in hand, with the ever-youthful goddess of> 
flowers; and Zephyrus, her beloved, shall waft tributary hon 
ours from every clime. W e will twine fair garlands for many 
a youthful brow ; “ we will not let a flower of the spring es- ! 
cape us but “ crown ourselves with roses ere they be with- 
ered.” We may roam with Tasso through Syrian lands, | 

J 


INTRODUCTION. 


“where soft perfumes diffuse from every flower;” or the deserts i 
of Arabia, where 

The acacia waves her yellow hair ; 

i 

or shall we choose the Grecian Isles, and join there a briddi j 
train, “ where the voung maidens are crowned with fairest flow- 
ers ? And there on every side are seen a succession of narcis- 
suses, hyacinths, anemones, iris, all hues, violets of all sorts, 
Toses of every kind, and every odoriferous plant.” These the 
ancient Greeks scattered in the porticoes of their temples: 
with them they adorned their altars, and decorated the statues 
of their gods; they strewed them in the victor’s path; and 
wore wreaths of flowers in their holy ceremonies. 

It was the custom there to brmg away 
The bride from home at blushing shut of day, 

Veiled in a chariot, heralded along 

By strewn flowers, torches, and a marriage song. 

Keats. 

And at tneir banquets and festivals they crowned themselves 
with 

Garlands of every green, and every scent, 

From vales deflowered or forest-trees branch-rent, 

In baskets of bright osiered gold were brought, 

High as the handles heaped, to suit the thought 
Of every guest, that each as he did please 
Might fancy-fit his brows, silk-pillowed at his ease. 

Keats. 

If we pass to Italy, we shall find lilies, and violets, the nar- 
cissus, and flowers of the sweet smelling anise ; with cassia, 
and other fragrant herbs, the soft hyacinth, and the saffron 
marigold. And in Spain we may 




10 


INTRODUCTION. 


rest awhile in the bower, 

O’er which the white-leaved orange flower 
Breathes its ambrosial sweets. 

Melendez. 

Now let us away to the distant lands of Asia, where we 
shall not find the glorious garden of Eden, nor the far-famed 
gardens of once mighty Babylon ; but there we may repose on 
beds of roses in Cashmere; and with the Persian maidens 
weave garlands of the violet, jasmine, or lotus flowers; we 
may trim the odorous night-blooming nyctanthes, with the 
drooping mimosa, which seems to do us homage as we ap- 
proach it ; we may cull the rich blossom from the canna, the 
white arum, the yellow zanthium, and the classic hibiscus ; we 
may rest secure under the bata tree, or recline beneath the 
dark and gloomy cypresses. Or seeing, should we prefer the 
plain of various colours, clad with groves and gardens, and 
watered by flowing rivulets ? It is a place belonging to the 
abodes of herofes. The ground is silky in its appearance, and 
the air is scented with musky odours ; so that you would be 
led to ask, Is it rose-water which glides between the hanks ? 
The stalk of the lily bends under the weight of the flower ; 
and the whole grove is charmed with the fragrance of the rose- 
bud. The pheasant walks gracefully among ihe flowers ; and 
the dove and the nightingale warble from the branches of the 
cypress. From the present time to the latest age, may these 
banks resemble the bowers of Paradise !* 

In Hindostan, the god of love is known as Camdeo. There 
we may see the fair young child surrounded \ r gay laughter- 
loving nymphs. His mother never leaves him — his spouse is 
Retty, the essence of affection — and his bosom friend is Bes- 


* Sir William Jones. 


INTRODUCTION. 11 J 

seat, or Spring. The plains of Agra are his favourite resort. | 
His bow is of sugar-cane, twined with flowers ; his string is 
of bees; his five arrows are each pointed with an Indian flower. 
The Hindoo nymphs chant the following hymn to the Indian 
cupid : — 

God of the flowery shafts and flowery bow, 

Delight of all above and all below ! 

Thy loved companion, constant from his birth, 

Is ycleped Bessent, gay spring on earth, 

Weaves thy green robes and flaunting bowers, 

And from thy cloud draws balmy showers, 

He with* fresh arrows fills thy quiver, 

(Sweet the gift, and sweet the giver,) 

And bids t^e many-plumed warbling throng 
Burst the fresh blossoms with their song : 

“ He bends the luscious cane, and twists the string 
With bees — how sweet, but ah ! how keen their sting, 

He with five flowerets tips thy ruthless darts, 

Which through five senses pierce enraptured hearts.” 

Translation by Sir William Jonf % 

But we will leave this dangerous land, and wander th ough 
the ever-blooming vales of Japan. Let us deck ourselves with 
her gorgeous lilies — her Japonicas — her flowers so beautiful 
that even the females are named from them. Wherever we 
roam, we shall find that nature strews the earth with flowers. 

We proceed to take a brief survey of the habits of flowers. 
Many varieties open their flowers in the morning, and close 
them in the evening; yet all do not open or close at the same 
hour. Plants of the same species are pretty regular to an hour in 
equal temperatures: hence the daily opening and shutting 
of the flowers has been called Horologium Floras. 

It has been very truly observed that flowers were the first 
playthings of Linnaeus : whose motto was, 

Tantus amor florum. 


12 INTRODUCTION. 

This devoted lover of flowers carefully noticed the sensibility 
of plants, and composed a horologe of flowers. The list is 
given in his “ Philosophia Botamca,” which, however, is only 
valuable to us in giving the names of plants which open and 
close at stated periods, as the time given is for the meridian of 
Upsal. For the use of our friends we have given a list of 
twenty-four, extracted from that magnificent and useful work, 
the Encyclopaedia of Gardening, by J. C. Loudon, Esq., and by 
observation of the following plants, also, the ingenious reader 
may be enabled to add to the number. Many species of con- 
volvulus and companula, the marvel of Peru, or belle-de-nuit, 
broom, tulips, cress, hibiscus, yellow lily, white water-lily, 
and dianthus. 

See hieracium’s various tribe, 

Of plumy seed and radiate flowers, 

The blooms of time their course describe, 

And wake and sleep appointed hours. 

Broad o’er its imbricated cap, 

The goat’s-beard spreads its golden rays, 

But shuts its cautious petals up, 

Retreating from the noontide blaze. 

| « 

Pale as a pensive cloistered nun, 

The Bethlehem-star her face unveils, 

When o’er the mountain peers the sun, 

But shades it from the vesper gales. 

Among the loose and arid sands 
The humble arenaria creeps ; 

Slowly the purple star expands, 

But soon within its calyx sleeps. 

And those small bells so lightly rayed 
With young Aurora’s rosy hue, 





INTRODUCTION. 



DIAL OF FLOWERS. 


TIME OF OPENING. 


YeUow Goat’s Beard 
Late-flowering Dandelion 
Bristly Helminthia 
Alpine Borkliausia 
Wild Succory 
Naked-stalked Poppy 
Copper-coloured Day Lily 
Smooth Sow Thistle 
Alpine Agathyrsus 
Small Bind-weed 
Common Nipple Wort 
Common Dandelion 
Spotted Achyrophorus 
White Water Lily 
Garden Lettuce 
African Marygold 
Common Pimpernel 
Mouse-ear Hawkweed 
Proliferous Pink 
Field Marygold 
Purple Sandwort 
Small Purslane 
Creeping Mallow 
Chickweed 


H M. 







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3 

5 



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Leon. S. 

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II. E. 

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C. I. 

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5 

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P. N. 

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n. F. 

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S. L. 

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lu 


* These are the initial letters of the Latin names of the plants ; they w?l be 
found at length on the next page. 


L . 


B 


14 


INTRODUCTION 


DIAL OF FLOWERS. 



TIME OF CLOSING* 




4 






H 

Helminth a echioides 





B.H. 

12 

Agathyrsus alpinus 

m 

• 


1 

A. A. 

12 

Borkhausia alpina 


• 



A. B. 

12 

Leontodon serotinus 

• 

>. 



L. D. 

12 

Malva caroliniana 


- 

* 


C. M. 

12 

Dianthus prolifer - 

- 

- 



P. P. 

1 

Hieracium pilosella 


- 



M.H. 

2 

Anagallis arvensis 




• 

P. S. 

2 

Arenaria purpurea 


m 

• 


S. P. 

2 

Calendula arvensis 

m 

m m 


m 

F. M. 

3 

Tagetes erecta 


• « 

• 


A. M. 

3 

Convolvulus arvensis 

m 

m m 


m 

S. B. 

4 

Achyrophorus maculatus 



m 


S. A. 

4 

Nymphiea alba 




• 

W. W. L. 

5 

Papaver nudicaule 



• 


N.P. 

7 

Hemerooallis fii ra 


m 


• 

O. D. L« 

7 

"num Intybus 



m 


W. S. 

8 

Leon .»** »' taraxacum 


• • 


• 

C. D. 

8 

Tragopogun m.itensis • 


• 



- Y. G. P 

9 

Stellaria media 

m 

• • 


• 

C. 

? 

Lapsana communis 


m 



- C. N. 

10 

Lactuca sativa 

- 

m m 



G. L. 

10 

Sonchus laivis 


m 

• 


S. T. 

11 

Portulaca oleracea 


• • 



S. P. 

11 


The time here stated is from non to night. 


M. 

0 

0 

1 

0 

1 

0 

0 

3 

3 

0 

4 

5 

5 

0 

0 

8 

9 

9 

10 

10 

0 

0 

12 

12 


INTRODUCTION. 15 

Are to the noontide sun displayed, 

But shut their plaits against the dew. 

On upland slopes the shepherds mark 
The hour, when, as the dial true, 

Chiconium to the towering lark 
Lifts her soft eyes serenely blue. 

And thou u wee crimson tipped flower,” 

Gatherest thy fringed mantle round 

Thy bosom at the closing hour, 

When night-drops bathe the turfy ground. 

Unlike silent, who declines 
The garish noontide’s blazing light 5 

But when the evening crescent shines, 

Gives all her sweetness to the night. 

Thus in each flower and simple bell, 

That in our path untrodden lie, 

Are sweet remembrances, which tell 
How fast their winged moments fly 

S»fITH. 

The following beautiful lines are by Mrs. Hemans. They 
celebrate the far-famed dial of flowers constructed by Linnaeus. 

*T was a lovely thought to mark the hours, 

As they floated in light away, 

By the opening and the folding flowers, 

That laugh to the summer’s day. 

Thus had each moment its own rich hue, 

And its graceful cup and bell, 

In whose coloured vase might sleep the dew, 

Like a pearl in an ocean-shell- 

To such sweet signs might the time have flowed 
In a golden current on, 


Ere from the garden, man’s first abode, 
The glorious guests were gone. 


So might the days have been brightly toid — 

Those days of song and dreams — 

When shepherds gathered their flocks of old, 

By the blue Arcadian streams. 

So in those isles of delight, that rest 
Far off in a breezeless main, 

Which many a bark, with a weary quest, 

Has sought, but still in vain. 

Yet is not life, in its real flight, 

Marked thus — even thus — on earth, 

By the closing of one hope’s delight, 

And another’s gentle birth ? 

Oh ! let us live, so that flower by flower, 

Shutting in turn, may leave 
A lingerer still for the sunset hour, 

A charm for the shaded eve. 

And among other poets, we often meet with allusions to 
floral dials. 


The dial hid by weeds and flowers, 

Hath told, by none beheld, the solitary hours. 

Wilson. 

Young Joy ne’er thought of comting hours. 

’Till Care, one summer’s morning, 

Set up, among his smiling flowers, 

A dial by way of warning. 

Murray. 

What a wide field for the imagination is displayed in the 
succeeding quotation from Hartley Coleridge. We might fancy 
ourselves luxuriating in a garden of roses, where “ every flower 
that blows” would add to our felicity; where the most agree- 


INTRODUCTION. 17 

able and delightful companions were assembled to pass the 
hours in heedless pleasures — where no care — no sorrow — no 
unpleasant recollections of past disappointments — of hopes 
destroyed — or the overthrow of anticipated happiness — are 
allowed to interrupt our joy, and mar the beauty of the en- 
chanted scene. Alas ! these are but day-dreams, scattered by 
a breath. The rude realities of life — the continual frustration 
of long-cherished designs — and the constant blighting, if not 
extinction of our fondest hopes — all prove how utterly falla- 
cious are the projects on whioh unassisted man attempts to 
construct a durable felicity. Read it ! Does it not carry our 
f ancy to an airy Eden ? 

Shall I sing of happy hours 

Numbered by opening and closing flowers? 

Of smiles, and sighs that give no pain, 

And seem as they were heard in vain — 

Softly heard in leafy bowers, 

Blent with the whispers of the vine, 

The half blush of the eglantine, 

And the pure sweetness of the jessamine ; 

What is it those sighs confess ? 

But we are extending this part beyond our limits. Flowers 
afford a certain means of determining the state of the atmo- 
sphere. “ Many species are admirable barometers. Most of 
the bulbous-rooted flowers contract, or close their petals entire- 
ly, on the approach of rain. * The African marigold indicates 
rain, if the corolla is closed after seven or eight in the morning. 
The common bindweed closes its flowers on the approach of 
rain ; but the anagallis arvensis, or scarlet pimpernel,” which 
we often call shepherd’s weather-glass, “ is the most sure in its 
indications, as the petals constantly close on the least humidity 
of the atmosphere. Barley is also singularly affected by the 
; 


16 


INTRODUCTION. 


) 


moisture or the dryness of the air. The awns are furnished 
with stiff points all turning toward one end; which extend 
when moist, and shorten when dry. The points, too, prevent 
their receding, so that they are drawn up or forward; as 
moisture is returned, they advance, and so on; indeed, they 
may actually be said to travel forward. The capsules of the 
geranium furnish admirable barometers. Fasten the beard, 
when fully ripe upon a stand, and it will twist itself, or un- 
twist, according as the air is moist or dry. The flow'ers of the 
chickweed, convolvulus, and oxalis, or wood-sorrel, close their 
petals on the approach of rain.” 

Gardens have been the delight of poets in all ages. All 
our poets have sung of flowers. They serve all purposes ; and 
we are reminded of the fable of the flowers, where the rose 
says — 


What can a poet do without us ? 


“ But it is not poets alone who half-worship flowers. What 
an enthusiastic devotion is that which sends a man from the 
attractions of home, the ties of neighbourhood, the bonds of 
country, to range plains, valleys, hills, and mountains, for a new 
flower ! What a spirit must have animated Hermann, Hassel- 
quist, Tournefort, Linnaeus, Solander, Saussure, Humboldt, and 
hundreds of those who have sacrificed every personal conveni- 
ence and selfish motive for the sake of illustrating the volume 
of nature, and opening almost a new existence upon those 
whose researches are necessarily limited. But the love of 
flowers is not shared exclusively by the poet and the naturalist. 
Oh no ! the little child loves the flower-garden, and watches 
with intense interest the early opening buds, such fair types of 
itself. The young, the middle-aged, and the hoary head, sil- 
vered with the snows of threescore years and ten ; all, all hang 


INTRODUCTION. 


19 


with delight over the blooming parterre. The bud of infancy, 
the half-expanded flower of youth, the perfect blooms of the 
meridian of life, and the drooping leaves of closing existence, 
are here all seen and noted. No wonder that man, in the beau- 
tiful simplicity of earlier times, loved flowers, and hence formed 
an eloquent language, that spoke to the heart in a ‘ still, small 
voice,’ more touching than the tenderest accents. No wonder 
that the most lovely ornament for the young virgin was a 
chaplet of fair flowers; the most glorious distinction of the 
warrior a wreath of bays. No wonder that the bier of the 
early dead was strewed with these passing emblems of a pas- 
sing existence.” 

May-day — May-day, that revives such joyful reminiscences 
of our childhood — bringing back to us the pleasures of “ by- 
past time,” in remembrance and reality, May-day must not be 
forgotten. 

Hail ! thou of ever-circling time, 

That gracest still the ceaseless flow ! 

Bright blossoms of the season’s prime, 

Aye hastening on to winter’s snow ! 

Hail ! thou, the fleet year’s pride and prime ! 

Hail ! day, which fame should bid to bloom ! 

Hail i image of primeval time ! 

Hail ! sample of a world to come ! 

L-ANGHOKNE. 

“The flowery month of May,” says Peacham,. “ must be 
drawn as a youth, with a sweet and amiable countenance, dad 
in a robe of white and green, embroidered with daffodils, haw- 
thorns, and blue-bottles; upon his head a garland of white, 
damask, and red roses; in one hand a lute; upon the fore-finger 
of the other a nightingale ; and the sign Gemini in the back- 
ground.” 


20 INTRODUCTION. 

May-day festivities are now falling rapidly into disuse ; but 
in ancient times it was celebrated as was fitting by the young. 
They rose shortly after midnight, and went to some neighbour- 
ing wood, attended by songs and music, there breaking green 
branches from the trees, and making nosegays, wreaths, and 
crowns of flowers. They returned home at the rising of the sun, 
and made their windows and their doors gay with garlands. 
In the villages they danced during the day round the May-pole, 
which afterward remained the whole year untouched, except 
by tne seasons, a fading emblem, and a consecrated offering to 
the goddess of flowers.” Chaucer, in his conclusion of the 
Couit of Love, hath described the feast of May. 

Forth goth all the court, both most and least, 

To fetch the floures fresh, and braunch and bloine. — 

And namely hawthorn brought both page and groirie, 

And then rejoysen in their great delite, 

Eke ech at others threw the floures bright, 

The primrose, violete, ard the gold, 

With fresh garlants party blue and white. 

To pass, however, more immediately to the contents of this 
work, we would observe, that the sentimental language of 
Flora is by no means of modern invention. “The hiero- 
glyphics of the ancient Egyptians abound in floral symbols, 
i and from hence we may surmise that the Greeks became ac- 
customed to this figurative language. Their poetical fables 
are full of the metamorphoses of their deities into plants ; 
indeed, there was no flower to which their imaginations had 
not affixed some meaning ; even to this day a young Arcadian 
is seldom seen without his turban full of flowers, presented to 
him by the beauty he admires, by the silent language of which 
his hopes are kept alive ; and it forms one of the chief amuse- 
ments of the Greek girls to drop these symbols of their esteem 


INTRODUCTION. 21 

or scorn, upon the various passengers who pass their latticed 
windows.” 

In the gardens of the East, Flora receives the homage due 
for her widely-scattered and various gifts. Oh ! flowers — 
flowers — we may well think them the “alphabet of the an- 
gels.” But how coldly do we look on them ; how often are 
we regardless of their charms here ; while in other lands they 
almost subserve the use of writing — expressing by a blossom, 
joy, grief, hope, despair, devotion, piety, and almost every sen- 
timent that fills the mind. 

In Eastern lands they talk in flowers, 

And they tell m a garland their loves and cares ; 

Each blossom that blooms in their garden bowers, 

On its leaves a mystic language bears. 

The rose is the sign of joy and love, 

Young blushing love in its earliest dawn 

And the mildness that suits the gentle dove, 

From the myrtle’s snowy flower is drawn. 

Innocence dwells in the lily’s bell, 

Fure as a heart in its native heaven ; 

Fame’s bright star and glory’s swell, 

By the glossy leaf of the bay are given. 

The silent, soft, and humble heart 

In the violet’s hidden sweetness breathes ; 

And the terder soul that cannot part, 

A twine of evergreen fondly wreathes. 

The cypress that darkly shades the grave, 

Is sorrow that mourns its bitter lot ; 

And faith that a thousand ills can brave, 

Speaks in thy blue leaves, Forget-me-not. 

Then gather a wreath from the garden bowers, 

And tell the wish of thy heart in flowers. 

PekcivaS.. 


22 


INTRODUCTION. 


Lady M. W. Montague was one of the first to introduce 
floral language into Europe. When at Pera, she sent a Turk- 
ish love-letter to a friend in England, from which we extract 
the botanical emblems. 


Clove. 


Jonquil. 

Pear. 

A ROSE. 

A STRAW. 

Cinnamon. 

Pepper. 


You are as slender as this clove ! 

You are an unblown rose ! 

I have long loved you, and you have not known it. 
Have pity on my passion ! 

Give me some hope ! 

May you be pleased, and your sorrows mine ! 
Suffer me to be your slave ! 

But my fortune is yours ! 

Send me an answer I 


Her ladyship states that there is no flower without a verse be- 
longing to it ; and that it is possible to quarrel, reproach, or 
send letters of passion, friendship, or civility, or even of news, 
without ever inking the fingers. 

Happy the young and light-hearted maiden who ignorant of 
the silly pleasures of the world, feels no occupation to be more 
agreeable than the study of plants. She seeks in the field her 
most touching ornaments ; each spring brings to her new joys : 
and every morning a fresh harvest of flowers repays her dili- 
gent cultivation ; a garden is to her an inexhaustible source of 
delight and instruction. By a charming art these beautiful 
productions of nature are converted into liquid perfumes, pre- 
cious essences, or valuable conserves. One of the most delight- 
ful accomplishments that can be chosen for the fair sex is that 
of catching the transient shades of beauty which are found 
upon flowers, and fixing them on p?per. The able pencil 


INTRODUCTION. 


23 


shows to us the queen of spring with her spherical form, her 
delicate colours, the beautiful green of her foliage, the thorns 
which protect her, the dew-drops which bathe her, and the 
butterfly which skims lightly over her beautiful form, “ The 
beauty and grace that may be displayed in grouping flowers, 
united with the gayety of their colours, and the harmony 
of their tints, are objects well worthy the attention of those 
who were born to render life delightful.” Nothing is for- 
gotten in depicting them ; and when we look upon the faithful 
representative, even in the depths of winter, we may fancy 
that we inhale the perfumes of spring. This study, in impart- 
ing a taste for all that is beautiful in nature, fills the soul with 
ravishing emotions, and opens before us the enchanted ave- 
nues of a world full of wonders.” “Flowers,” says Pliny, 
“ are the joy of the shrubs which bear them.” This eminent 
observer of nature might also have added, “and of those who 
love them and cultivate them.” 

The interpreters of our sweetest sentiments, flowers lend 
their charms even to love — to that pure and chaste affection, 
which, as Plato observes, is an inspiration from the gods. The 
expression of this divine passion ought to be divine also, and 
it was to illustrate this that flowers were ingeniously made 
emblematical of our most delicate sentiments ; they do, in fact, 
utter in “ silent eloquence ” a language better than writing ; 
they are the delicate symbols of the illusions of a tender heart 
and of a lively and brilliant imagination. In the glorious days 
of chivalry, the respectful lover oft made use of the sweet lan- 
guage of flowers. Gothic books are full of emblems composed 
of flowers; and we find, in the romance of Perceforet , that a 
garland of roses is the lover’s treasure. We read also in that 
of Amadis, that Oriana, a prisoner who had neither the oppor- 
tunity of speaking nor writing to her lover, apprised him of her 
misfortune by throwing, from the high tower in which she was 


24 


INTRODUCTION. 


confined, a rose bathed in her tears. What a charming ex- 
pression of sorrow and of love ! The Chinese have an alpha- 
bet composed entirely of plants and roots ; and we may yet 
read upon the rocks of Egypt the ancient conquests over that 
people, recorded by foreign plants. This language is as old as 
the world, but its characters are renewed in each succeeding 
spring. 

Should a beautiful odalisk wish to avenge herself on a tyrant 
who has treated her with cruelty, she may, with a single flow- 
eret of the lily of the valley, thrown as by chance, inform a 
young icoglan, that the favourite sultana, weary of her tyran- 
nous lord, wishes to inspire a sentiment of lively and pure 
affection. If he should return a rose, it would be as though 
he had said that reason was opposed to her projects ; but a 
tulip, with a black heart, and flame-coloured petals, would 
assure her that her wishes were understood and partaken of. 
This is an ingenious mode of correspondence, which can never 
betray nor divulge a secret. 

This eloquent language gives a charm to the sweet inter- 
course of friendship, and to filial and maternal love ; it adds to 
the delight of youthful affections, and affords an excellent 
mode of recognition. The unfortunate may even find a faith- 
ful messenger in a flower. Roucher, when in solitary confine- 
ment, consoled himself in studying the flowers which his 
daughter collected for him ; and, a few days before his death, 
he sent her two dead lilies, to express, at the same time, the 
purity of his soul and the fate which awaited him. 

The poet Saadi, author of “ Gulistan, or the Rose-Garden,” 
engaged to break his chains by presenting a rose to the man 
who owned him as his slave. He said, “ Do good unto thy 
servant while thou hast it in thy power, for the season of power 
is often as brief as the existence of this beautiful flower.” 

The sentiments and emblems found in this volume are chiefly 


INTRODUCTION. 


25 


derived from the ancients and especially from Eastern nations. 
In pursuing the research, it has been found that time, instead 
of rendering their sentiments less appropriate, has confirmed 
their fitness, and continually added new charms to the language. 
Little study is necessary in the science here taught ; nature has 
been before us. It will suffice that two or three rules be given, 
which the reader will do well first to learn, and then by refer- 
ence to the work, which is systematically arranged for the pur- 
pose, he will be enabled to converse in the language of flowers. 
By the first rule, a flower presented inclining to the right, ex- 
presses a thought ; reversed, it is understood to convey the 
contrary of that sentiment. For example: — A rosebud, with 
its thorns and leaves, is understood to say, “ I fear, but I hope.” 
The same rosebud reversed, would signify that “You must 
neither fear nor hope.” You may convey your sentiments very 
well by a single flower. As the second rule, take the rosebud 
which has already served us for an example, and strip it of its 
thorns, it tells you that “ There is everything to hope.” Strip 
it of its leaves, it will express that “ There is everything to 
fear.” 

The expression of nearly all flowers may be varied by chan- 
ging their position. Thus, the marigold, for example : placed 
upon the head, it signifies “ distress of mind ;” upon the heart, 
“the pains of love;” upon the breast, “ennui.” It is also 
necessary to know that the pronoun I is understood by incli- 
ning the flower to the right, and the pronoun thou by inclining 
it to the left. 

Such are the first principles of this mysterious language. 
Love and friendship ought to join their discoveries to render it 
more perfect : these sentiments, the most delightful in nature, 
are alone able to perfect what they have originated. 


c 


Oh ! thou magic world of flowers, 

Fairy ministers of grace, 

Soothing all our weary hours, 

Decking every lonely place 
With a teinting bright and strange, 

Glowing in a world of change. 

7 ^ 

Hidden links of some fair sphere, 

Breathing of its hues of light, 

Ye have holy spells and dear, 

Ye have tokens for the sight; 

The spell of love, the voice of power, 

May thrill us from a fragile flower. 

Seek we an emblem of our dreams, 

Of hopes we fondly hide — 

Behold! the water-lily gleams, 

Half trembling on the tide: 

And once beneath the ploughshare wild, 

The mountain-daisy looked and smiled. 

Thus should the cheek of beauty glow, 

At tales too fond, too true, 

Twine ye the myrtle for her brow 
With rose of brightest hue, 

And whisper that in Eastern bowers 
They learn the Poetry of Flowers! 

Lucy Hooper. 




TIIE 


POETRY OF FLOWERS 


AND 


FLOWERS OF POETRY 


ABSENCE. 

WORMWOOD. 

Wormwood is considered the bitterest of plants. Its scien- 
tific name, Absinthium , is derived from the Greek and signifies — 
without sweetness. It is therefore very appropriately made 
the emblem of absence; which according to La Fontaine, is 
the greatest of evils. 

He told me he would come again 
When summer’s last wild roses bloom, 

And when we parted in the glen 
The young houstonia shed perfume. 

I thought how many flowers must spring 
While I my absent love deplore; 

I could not bear that early thing 
Should not have faded long before. 


28 


THE POETRY OF FLOWERS 


But last the scented violets grew, 

And blue rhodora with them stood; 

And then the rose-bay-laurel blew, 

And white viburnum of the wood. 

And now the light, midsummer air 
Breathes of the swamp-pink and sweet-fern* 

The lily-bells have withered there — 

I know my love will soon return! 

Fast fades the long-lived meadow-sweet, 

I joy to see it pass away, 

But when I with my true love meet, 

Long — long may autumn roses stay! 

Miller. 


ARTS (THE). 

ACANTHUS. 

The Acanthus is found in hot countries along the shores of 
great rivers. 

“ Le nil du vert acanthe admire le feuillage.” 

The ancients tastefully adorned their furniture, vases, and most 
costly attire, with its elegant leaves. And Yirgil writes, that- 
the robe of Helen was bordered with a wreath of acanthus in 
relief. 

This beautiful model of the arts has become their emblem ; 
and he will be talented indeed, who shall produce anything to 
excel its richness. If any obstacle resists the growth of the 
acanthus, it seems to struggle, to overcome it and to vegetate 
with renewed vigour. So genius, when acted upon by resist- 


AND FLOWERS OF POETRY. 29 

ance or opposition redoubles its attempts to overthrow every 
impediment. 

It is said that the architect Callimach, passing near the tomb 
of a young maiden who had died a few days before the time 
appointed for her nuptials, moved by tenderness and pity ap- 
proached to scatter some flowers upon her tomb. Another 
tribute to her memory had preceded his. Her nurse had col- 
lected the flowers which should have decked her on her wed- 
ding day and putting them with the marriage veil in a little 
basket had placed it near the grave upon a plant of acanthus, 
and then covered it with a tile. In the succeeding spring the 
leaves of the acanthus grew round the basket ; but being staid 
in their growth by the projecting tile, they- recoiled and sur- 
mounted its extremities. Callimach, surprised by this rural 
decoration, which seemed the work of the Graces in tears, 
conceived the capital of the Corinthian column ; a magnificent 
ornament still used and admired by the whole civilized world. 

When from the sacred garden driven, 

Man fled before his maker’s wrath, 

An angel left her place in Heaven, 

And crossed the wanderer’s sunless path, 

’T was Art, sweet art ! new radiance broke, 

Where her light foot flew o’er the ground, 

And thus with seraph voice she spoke — 

“ The curse, a blessing shall be found !” 

• ••••••• 

He rends the oak and bids it ride, 

To guard the shores its beauty graced, 

He smites the rock — upheaved in pride, 

See towers of strength and domes of taste! 

Spragtje. 


c 2 


30 the poetry of flowers 


ASSIGNATION. 

PIMPERNEL. 

The common Pimpernel is a besutiful trading weed and one 
of the Flora Horologies opening its flowers regularly about 
eight minutes past seven o’clock, and closing them about three 
minutes past two o’clock. It serves also as an hydrometer; 
for if rain fall, or there be much moisture in the atmosphere, 
the flowers either do not open or close up again. It is fre- 
quently called the shepherd’s weather-glass. 


Our bonny Kate bound her golden hair, 

With a violet wreath for the village- fair, 

And tripped with the grace of a gay gazelle, 
Where blushes the delicate pimpernel; 

For a prophetess true is that lowly flower, 

She warns us ever of tempest hour, 

When the rain-cloud shadows her humble head, 
She folds her petals of brilliant red, 

And keeps her sunny heart warm within, 

Like a fair girl shutting out grief and sin. 

P. s. o. 


When the sun o’er yonder mountain, 
Smiles farewell to earth and sky, 
Meet me Marion, where our fountain 
Softly sings its lullaby! 


and flowers of poetry. 


31 


ASYtu M — P ROTECTION. 

JUNIPER. 

The ancients consecrated this shrub to the Eumenides. The 
smoke of its green branches was the incense which, in preference, 
they chose to offer to the infernal gods ; and burnt its berries 
on funeral occasions to drive away evil spirits. The simple 
villagers of England superstitiously believe that the perfume of 
its berries purifies the air and protects them from the malevo- 
lence of wicked genii. 

Its thick branches bristling with thorns are covered with 
thousands of brilliant insects, which seem to imagine, this tree 
is provided as a protection for their weakness. 

It is said that the powerful odour emitted by the juniper de- 
feats the keen scent of the hound. It thus affords a safe retreat 
to the hunted hare, which, in the last extremity conceals itself 
beneath its protecting branches. 


Ah no ! never deem her less worthy of love, 

That once she has trusted and trusted in vain, 

Would you turn from the timid and innocent dov^ 

If it flew to your breast from a savage’s chain. 

She too is a dove in her guileless affection, 

A child in confiding and worshipping truth, 

Half broken in heart she has flown for protection 

To you!— Will you blight the sweet promise of youth? 

f. s. o. 


32 THE POETRY OF FLOWERS 


BEAUTY COMBINED WITH PIE-TY. 

WATER-STAR. 

44 This flower grows in fresh water, supported by its floating 
upper leaves, which form star-like tufts on the ends of the 
stem.” “ Flowering above, but ripening its seeds under water,” 
it seems an apt emblem of a lovely girl, who, while sue does 
not neglect her external bloom — the flower of health and 
beauty — still cherishes, within, the seeds of virtue to blossom 
in a future life. 

All beaming with light as those young features are, 

There ’s a light round thy heart, that is lovelier far ; 

It is not that cheek — ’t is the soul dawning clear, 
Through its innocent blush, makes thy beauty so dear — 
As the sky we look up to, though glorious and fair, 

Is looked up to the more, because Heaven is there! 

Moore. 

As lightly floats the water-star, 

And gems the limpid stream, 

Thy graceful, radiant loveliness, 

A star of earth doth beam ! 

As ’nealh the wave its seeds are nursed, 

For future bloom above, 

Within thy soul, thou cherishest 
Hope, meekness, faith, and love: 

And like the germ, that soul shall rise, 

When earth’s cold bonds are riven, 

Inhale the light in cloudless skies, 

And bloom — a star of heaven! 

F. S. O. 


AND FLOWERS OF POETRY. 33 


BONDS OF LOYE. 

HONEYSUCKLE. 

The Honeysuckle sometimes attaches its pliant branches to 
the knotted trunk of an ancient oak, and amid the rugged 
branches of that lordly tree, 

The woodbines mix, in amorous plaj 
And breathe their fragrant lives away 

It was said, that this feeble tree, thus shooting into the air, would 
overtop the king of the forest ; but, as if its efforts were una- 
vailing, it soon recoiled, and, with graceful negligence, adorned 
its friendly supporter, with elegant festoons and perfumed 
garlands. 

Fragile but sweet is the woodbine wild, 

Clinging wherever its beauty may rest, 

Fair as the woodbine, as trusting and mild, , 

Oh! be thy home upon Love’s fond breast! 

s. o 


BEAUTY. 

ROSE. 

Rose ! thou art the sweetest flower, 

That ever drank the amber shower ; 

Rose ! thou art the fondest child 
Of dimpled spring, the wood-nymph wild ! 

Moore’s Anacreon. 

This beautiful flower, and universal favourite of nature, has 
never been described in language adequate to convey an idea 


34 


THE POETRY OF FLOWERS 


of its charms, although each poet in turn has made it the 
theme of song, or introduced eulogiums on its beauty to heigh- 
ten the attractions of his poesy. 

Not one of all the train has, however, been able to do justice 
to its merits, though they have denominated it the daughter of 
heaven, the ornament of the earth, and the glory of spring. 

When it opens its delicate buds, the eye surveys its harmo- 
nious outlines with delight. But how shall we describe the 
delicate tints of its enchanting colours, or the sweet perfume 
which it exhales ? Behold, in the spring it raises itself softly 
in the midst of its elegant foliage, surrounded by its numerous 
buds. This, the queen of flowers, and the pride of Flora, 
seems to sport with the air that fans her, to deck herself with 
the dew-drops that impearl her, and to smile upon the rays of 
the sun which cause the expansion of her beautiful form 

Proud be the rose, with rains and dews 
Her head impearling. 

Wordsworth. 

In producing this flower, nature appears to have exhausted 
herself by her prodigality, in attempting to produce so fine a 
specimen of freshness, of beauty in form, of exquisite perfume, 
of brilliancy of colour, and of grace. The rose adorns the 
the whole earth, as it is the commonest of flowers. The same 
day that its beauty is perfected it dies ; but each spring restores 
it to us with renewed freshness. Poets have had fair oppor- 
tunities for singing its praises, yet they have not rendered its 
eulogy common-place, but its name alone redeems their names 
from forgetfulness. Emblem of all ages — interpreter of all 
our sentiments — the rose mingles in the gayety of our feasts, 
in our happiness, and in our sorrows. It is also the ornament 
of beauty, and lends its soft carnation hues to the blush of 
modesty. It is given as the prize of virtue ; and is the image 
of youth, of innocence, and of pleasure. Venus is said to feel 
that she has a rival in the rose, as it possesses, like her, a 
grace which is mor 3 lovely than beauty itself. 







AND FLOWERS OF POETRY. 35 

| — 

Anacreon, the poet of love, has celebrated the rose ; and, 
perhaps, he has sung its praise more worthily than any of his 
successors. Moore has thus translated the Ode. 


While we invoke the wreathed spring, 
Resplendent rose ! to thee we ’ll sing ; 
Resplendent rose, the flower of flowers, 
Whose breath perfumes Olympus’ bower* 
Whose virgin blush, of chastened dye, 
Enchants so much our mortal eye. 

When pleasure’s bloomy season glows, 
The Graces love to twine the rose; 

The rose is warm Dione’s bliss, 

And flushes like Dione’s kiss ! 

Oft has the poet’s magic tongue 
The rose’s fair luxuriance sung: 

And long the Muses, heavenly maids, 
Have reared it in their tuneful shades. 
When, at the early glance of mom, 

It sleeps upon the glittering thorn, 

’Tis sweet to dare the tangled fence, 

To cull the timid floweret thence, 

And wipe with tender hand away 
The tear that on its blushes lay; 

’Tis sweet to hold the infant stems, 

Yet dropping with Aurora’s gems, 

And fresh inhale the spicy sighs 
That from the weeping buds arise. 

When revel reigns, when mirth is high, 
And Bacchus beams in every eye, 

Our rosy fillets scent exhale, 

And fill with balm the fainting gale . 


36 THE POETRY OF FLOWERS 

Oh ! there is naught in nature bright, 

Where roses do not shed their light ! 

When morning paints the orient skies, 

Her fingers bum with roseate dyes; 

The nymphs display the rose’s charms, 

It mantles o’er their graceful arms; 

Through Cytherea’s form it glows, 

And mingles with the living snows. 

The rose distils a healing balm, 

The beating pulse of pain to calm; 

Preserves the cold inurn ed clay, 

And mocks the ve^fl|je of decay; 

And when at length, in pain decline, 

Its florid beauties fade and pine, 

Sweet as in youth, its balmy breath 
Diffuses odour e’en in death ! 

Oh ! whence could such a plant have sprung ? 
Attend — for thus the tale is sung: — 

When, humid, from the silvery stream, 
Effusion beauty’s warmest beams, 

Yenus appeared in flushing hues, 

Mellowed by ocean’s briny dews; 

When, in the starry courts above, 

The pregnant brain of mighty Jove 
Disclosed the nymph of azure glance, 

The nymph who shakes the martial lance! 
Then, then, in strange eventful hour, 

The earth produced an infant flower, 

Which sprung, wit! blushing tinctures drest, 
And wantoned o’er ;ts parent breast. 

The gods beheld this brilliant birth, 

And hailed the Rose, the boon of earth ! 


AND FLOWERS OF POETRY. 37 

With nectar drops, a ruby tide, 

The sweetly orient buds they dyed. 

And bade them bloom, the flowers divine 
Of him who sheds the teeming vine ; 

And bade them on the spangled thorn 
Expand their bosoms to the mom. 

Jami, an eastern poet, says, ‘<-You may place a hundred 
handfuls of fragrant herbs and flowers before the nightingale ; 
yet he wishes not, in his constant heart, for more than the 
sweet breath of his beloved rose. 3 ’ 

4 

Oh, sooner shall the rose of May 
Mistake her own sweet nightingale ,* 

And, to some meaner minstrel’s lay 
Open her bosom’s glowing veil, 

Then love shall ever doubt alone, 

A breath of his beloved one. 

Moore. 

And James Montgomery says, in that sweet collection the 
Portfolio : — 

Where the true-love nightingale, 

Woos the rose in every vale. 

The following anecdote is narrated by Mr. Phillips, in his 
“Sylva Florifera,” of the birth of the rose: — “Flora having 
found the corpse of a favourite nymph, whose beauty of person 
was only surpassed by the purity of her heart and chastity of 
her mind, resolved to raise a plant from the precious remains 
of this daughter of the Dryads, for which purpose she begged 
the assistance of Venus and the Graces, as well as of all the 
deities that preside over gardens, to assist in the transformation 
of the nymph into a flower that was to be by them proclaimed 
queen of all the vegetable beauties. The ceremony was 
attended by the zephyrs, who cleared the atmosphere, in order 


38 THE POETRY OF FLOWERS 

that Apollo might bless the new-created progeny by his beams. 
Bacchus supplied rivers of nectar to nourish it : and Yertumnus 
poured his choicest perfumes over the plant. When the meta- 
morphosis was complete, Pomona strewed her fruit over the 
young branches, which were then crowned by Flora with a 
diadem that had been purposely prepared by the celestials to 
distinguish this queen of flowers.” 

Moore in his Irish Melodies, gives us a poetical reason for 
the beauty and delicious perfume of the rose. Others have 
stated that Love, in a feast of Olympus, in the midst of a light 
and lively dance, overthrew, with a stroke of his wing, a cup 
of nectar ; which precious liquor, falling on the rose, embalmed 
it with that delightful fragrance which it still retains. 

They tell us that love in his fairy bower 
Had two blush roses, of birth divine ; 

He sprinkled the one with a rainbow’s shower, 

But bathed the other with mantling wine. 

Soon did the buds, 

That drank of the floods 

Distilled by the rainbow, decline and fade; 

While those which the tide 
Of ruby had dyed 

All blushed into beauty, like thee, sweet maid ! 

Mooke. 

Light, lovely limbs, to which the spirit’s play 
Gave motion, airy as the dancing spray, 

When from its stem the small bird wings away . 

Lips, in whose rosy labyrinth, w r hen she smiled, 

The soul was lost; and blushes swift and wild, 

As are the momentary meteors sent 
Across the uncalm, but beauteous firmament; 


AND FLOWERS OF POETRY. 39 

And then her look! — oh! where’s the heart so wise, 
Could unbewildered meet those matchless eyes? 

Moore. 


Her cheeK was very eloquent; 

In passion, pride, or shame, 

Like summer’s warmest lightning flash, 

The colour to it came; — 

In joy — swift smiles and dimples broke 
Upon its pure repose, 

Like sunshine and a zephyr, 

At play upon a rose. 

f. s. a 


THE ROSE IN ICE. 

She has a glowing heart, they say, 
Though calm her seeming be, 

And oft that warm heart’s lovely play, 
Upon her cheek, I see. 

Her cheek is almost always pale, 

And marble-cold it seems; 

But a soft colour quivers there, 

At times in rosy gleams; 

Some sudden throb of love or grief 
Or pity or delight — 

And lo ! a flush of beauty, brief, 

But passionately bright! 

She ’minds me of a rose I found, 

In a far southern land, 


— — 1 


40 THE POETRY OF FLOWERS 


A robe of ice, its blushes, bound, 

By winter-breezes fanned. 

But softly through the crystal veil, 

That gleamed about ‘ts form, 

There came a fitful glow to tell, 

The flower beneath was warm: 

And thus, though cold her seeming be, 

Her cheek so calmy fair, 

Her spirit, struggling to be free, 

Doth often tremble there! 

f. s. o. 


BEAUTY EVER NEW. 

CHINA, OR MONTHLY ROSE. 

This is the earliest flowering rose ; and in mild seasons when 
planted against a wall, will sometimes flower in the beginning 
of April ; and being protected by glass in Autumn, or aided by 
artificial heat, may be continued in bloom until Christmas. 

That loveliness ever in motion, which plays, 

Like the light upon Autumn’s soft, shadowy days, 

Now here and now here, giving warmth as it flies, 

From the lips to the cheeks, from the cheek to the eyes! 

Moore. 

An angel face ! its sunny “ wealth of hair,” 

In radiant ripples, bathed the graceful throat 
And dimpled shoulders; — round the rosy curve 
Of the sweet mouth a smile seemed wandering ever, 


AND FLOWERS OF POETRY. 


While in the depths of azure fire, that gleamed 
Beneath the drooping lashes, slept a world 
Of eloquent meaning — passionate but pure, 
Dreamy, subdued, but oh 1 how beautiful ! 


F. 


41 


o. 


CALUMNY 

MADDER. 

A scarlet dye is produced from madder, and is of very com- 
mon use among dyers. When sheep have browsed on this 
plant their teeth appear stained, as if in the blood of some 
victim. The vile calumniator often takes advantage of dubious 
appearances to cast a stigma upon innocence itself. It has been 
observed that the bones of all animals feeding upon it become 
red, the hardest parts changing first, until the whole substance 
is coloured. 

Be thou as chaste as ice, as pure as snow 
Thou shalt not escape calumny ! 

Shaksfeare. 


CHASTITY. 

ORANGE flower. 

It is the custom in France, for the newly-married to wear a 
head-dress of orange flowers. Formerly a dishonoured girl 
was deprived of this ornament on her wedding-day ; and this 
usage still exists in the neighbourhood of Paris. 

n 2 


42 THE POETRY OF FLOWERS 

Chaste as the icicle 

That’s curdled by the frost from purest snow, 
And hangs on Dian’s temple. 

Shakspeare. 

How fair the orange-bloom will smile, 

Amid that auburn braid ! 

How soft will bum thy blush the while, 
Beneath the bridal shade! 

Thou’rt young to wed! — that virgin flower, 
White as thine own pure brow, 

Just stolen from its dewy bower, 

Is not more fresh than thou. 

Thou ’rt young to wear the bridal-bloom , 

Yet go ! for in thy heart, 

A lovelier blossom lights the gloom, 

That timid fears impart. — 

The heaven-fed flower of Purity; — 

Oh ! nurse the snowdrop still ! 

And in its breath, a charm shall be, 

To guard thee from all ill. 

F. S. 0. 


COLDNESS — TO LIVE WITHOUT LOYE. 

™ # ^ 

AGNUS CASTUS. 

Dioscorides, Pliny, and Galen inform us, that the priestesses 
of Ceres formed their virginal couch of the fragrant branches 
of the Agnus Castus, which is an autumnal shrub with whor- 


AND FLOWERS OF POETRY. 43 


led spikes of blue and white flowers from seven to fifteen inches 
long. This they regarded as the palladium of their chastity. \ 
In modern times, the religious orders of France drink a water 
distilled from its branches, to dispel from their minds, when in 
solitude, all earthly thoughts. Many orders of monks habit- 
ually wear a knife whose haft is made of the wood of agnus 
castus, to fortify their hearts against external influence. In 
fine this pretty shrub has been from time immemorial the em- 
blem of coldness. 

m 

The frigid and unfeeling thrive the best, 

And a warm heart in this cold world is like 
A beacon light, wasting its feeble frame, 

Upon the wintry deep, that feels it not, 

And trembling, with each pitiless gust, that blows, 

Till its faint fire is spent. 

Henry Neele. 


CONSOLATION. 

SNOWDROP. 

The north wind whistles, and the hoar-frost clothes the ver- 
dure-despoiled trees ; an uniform white carpet covers the earth 
— the birds withhold their tuneful song — and the sealed waters 
cease to murmur as they roll ; the rays of the sun, enfeebled 
by the density of our atmosphere, shed a gloomy light over our 
fields; and the heart of man is sad while all nature reposes in 
torpid tranquillity. 

Thus Madame de la Tour describes the state of nature, when 
suddenly a delicate flower pierces the veil of snow which had 


44 THE POETRY OF FLOWERS 

concealed it. It has been aptly termed by her countrymen 
Perce-neige, from the quality just named; and is with equal 
propriety called snowdrop by us. 

Though cold Fate has lowered . 

And darkened my day ; 

Though sorrow has showered 
Her tears o’er my way; 

One blossom has flowered, 

In Love’s sunny ray. 

Let Fate then bereave me, 

Let other friends flee, 

If my snowdrop she leave me, 

Pure, smiling, and free, 

No more can she grieve me — 

My hope is in thee! 

F. S. O. 


CONSOLATION OF SLEEP. 

POPPY. 

The poppy yields a narcotic juice in considerable quantity, 
which is frequently administered to procure sleep and relieve 
pain; on this account it has been made the symbol of consola- 
tion. The ancients, who regarded sleep as the great physi- 
cian, and the great consoler of human nature, crowned the god 
of sleep with a wreath of poppies. 


AND FLOWERS OF POETRY. 45 

One, with her flushed cheek laid on her white arm, 

And raven ringlets gathered in dark crowd 
Above her brow, lay dreaming soft and warm. 

Eyron. 

Sleep, that knits up the ravelled sleeve of care. 

Shakspeare. 

Glad for a wmle to heave unconscious breath, 

Yet wake to wrestle with the dread of death. 

Byron. 

\ 


CONSTANCY. 

BLUE CANTERBURY-BELL. 

This beautiful flower, from the depth and richness of its 

colour, has been made the emblem of constancy. It is a very 

ornamental border-flower, and is of easy culture. 

Through the fragrant grove of olives, with a dark-eyed 
child of Spain, 

I have often whiled the hours, since I crossed the moaning 
main ; 

But the soul in those soft, brilliant eyes, the low, melodi- 
ous tone, 

Bade mournful thoughts of thee arise, my beautiful, my own ! 

’Mid the vines of sunny France, love, I have twined the 
silken curl, 

And met the merry kisses, of a light and laughing girl, 


■ 






40 THE POETRY OF FLOWERS 

And richly waved the glittering tress, and wildly woke 
her glee ! — 

I pined the more for thy caress — more fondly thought of 
thee ! 

A haughty, high-born English maid, oft shares, with me, 
the dance; — 

Italia’s daughter bends on me, her full, impassioned glance; — 

Nor graceful mein — nor dimpled bloom — nor look of loving 
light, 

Can win this faithful soul from thee, my purest, and most 
bright ! 

F. S. O. 


COQUETRY. 

YELLOW DAY-LILY. 

The flowers of this plant speedily fade, seldom continuing 
two days in bloom ; for this reason it has been assigned as the 
emblem of coquetry. As an equivalent for the transient dura- 
tion of its flowers, it displays its beauty by a continual succes- 
sion of blossom, and gives out for some time a very agreeable 
odour ; and this the more powerfully when planted in shady 
or moist situations. 

I sunned myself once in her smile: — 

She has turned its soft beam upon one, 

Who cares not a pin for her — while 
He triumphs and I am undone ! 



AND FLOWERS OF POETRY. 47 

I lived on the sweets of her lips; — 

I must seek for a supper elsewhere; — 

Another that banquet may sip! 

Another may play with her hair! 

And why is my rival so dear ? 

And why is she out when I call ? — 

His income’s five thousand a year! 

And mine — it is — nothing at all! 

F. s. Or 


COME DOWN TO ME. 

Jacob’s ladder. 

There are but two species of this pretty flower as yet 
known; one belonging to North America — the other common 
to Europe and Asia. Its flowers vary from blue to white. 

Look ! how the stars like jewels glisten, 

Maiden, more pure than gem or star! 

Lean from thy lattice, my love, and listen, 

While I awake my wild guitar. 

See! I have flung a fair flower to thee, 

May not its name my fond hope tell? 

Oh! for thy lover, let it woo thee! 

And ask thy blush what it means, “ ma belle !” 

Last night, the patriarch’s dream was mine;-— 

An angel came from heaven to me; — 


48 


THE POETRY OF FLOWERS 


Its smile — its tresses — were so like thine, 

I think it could have been none but thee! 

Then realize, love, that radiant dream, 

Fly from thy tyrant’s savage pride ! 

Descend — oh! seraph! by night’s dim beam, 

And morn shall hail, with a smile, my bride! 

f. s. o. 


CONJUGAL LOVE. 

LINDEN-TREE. 

Baucis was changed into the Linden-tree, which has ever 
since been the emblem of conjugal love. In glancing over tne 
consecrated plants in the mythology of the ancients, we can- 
not fail to admire their fitness to represent the various qualities 
of which they are symbolical. 

Beauty — grace — simplicity — an extreme softness of man- 
ner, and an innocent gayety, should be, in all ages, the proper- 
ties and accomplishments of a tender wife. W e find all these 
qualities united in the Linden-tree ; which, in spring, is ever 
covered # with a soft and delicate verdure, and exhales a very 
delightful fragrance, while it lavishes the honey of its flowers 
upon the busy bee. 

Who shall attempt to paint the effect of its beautiful foliage 
as it waves its branches softly under the influence of the breeze ? 
Its young leaves seem to have been cut of softer materials than 
silk, and are far more brilliant. We can scarce cease to gaze 
upon its vast shade ; nay, we could wish to be always reposing 
under it — to listen to the murmurs of its branches, and breathe 
its delicious perfumes. The magnificent chestnut and the slen- 
der acacia have each disputed the right of the Linden-tree, to 


AND FLOWERS OF POETRY. 49 

hold a place in the public avenues and promenades ; but they 
and fashion united have not succeeded in banishing it thence. 

Yes ! the pure, open, prosperous love, 

That, pledged on earth and sealed above, 

Grows in the world’s approving eyes, 

In friendship’s smile and home’s caress, 

Collecting all the heart’s sweet ties 
Into one knot of happiness! 

Moore. 

The earth was sad — the garden was a wild — 

And man — the hermit — sighed, till woman smiled! 

Campbell. 

That union where all that in woman is kind, 

With all that in man most ennoblingly towers, 

Grow wreathed into one — like the column, combined 
Of the strength of the shaft and the capital’s flowers. 

Moore. 

Calm wedded affection, that home-rooted plant, 

Which sweetenr seclusion, and smiles in the shade. 

Moore. 

I do not promise that our life 
Shall know no shade on heart or brow ; 

For human lot and mortal strife 

Would mock the falsehood of such vow. 

But when the clouds of pain and care 
Shall teach us we are not divine, 

My deepest sorrows thou shalt share, 

And I will strive to lighten thine. 

Eliza Cook. 


e 


50 


THE POETRY OF FLOWERS 


CRUELTY. 

NETTLE. 

The sting of the nettle causes a pain as violent as that pro- 
duced by a burn. On examining the plants with a microscope, 
we observe “ the projecting bristles or prickles with which 
they are covered, are tubular and stand on a bag filled with 
poisonous juice ; they are perforated at the point, and when 
they are gently pressed vertically, the pressure at once forces 
the poison to ascend the tube, and enables the point to lodge it 
in the skin.” 

Its generic name, Urtica, is formed from uro , to burn, in allu- 
sion to its stinging properties. 

More cruel far than murder’s self is he, 

Who, having kindled once love’s Eden-bloom, 

With warm Persuasion’s spell, in some young heart, 

E’er lets Indifference blight it or Neglect; — 

For Love — true Love can flower but once in life, 

In woman’s life — the Aloe of her heart! 

F. S. O. 


DELICACY. 
blue-bottle centaury. 

The beautiful blue of this flower, which is of the colour of 
an unclouded sky, has mad£ it the emblem of a tender and 
ielicate sentiment, nourished by hope. 

Her love is pure and glad and true, 

As yonder heaven of stainless blue. 




F S. O. 


AND FLOWERS OF POETRY. 


51 


ILLUSTRATION OF PLATE. 

Jasmine. — Strawberry. — Tulip 

Your amiability, and the excellence of your character, have compelled 
me to declare my love. 

’Twas not the glossy, golden flow 
Of tresses richly braided, 

’Twas not the dimpled rose below, 

Whose soul-fed smile they shaded! 

Those dark-fringed eyes of brilliant blue, 

Whose glances talk in light, love, 

Thy fragrant lips’ deep, carmine hue, 

Thy hand so soft and slight, love; 

It was not these — though these excel, 

In thee, ail others’ beauty; — 

It was not these, that wove the spell, 

And won my love and duty. 

Thy heart is like the Jasmine-bell, 

It yields its wealth of feeling; 

Like perfume from the blossom’s cell, 

On every zephyr stealing. 

Thy mina is like the Strawberry vine, 

* In all its bright gradations; — 

The flowers — its graceful fancies shine, 

The fruit — its sweet creations! 

I’ve twined with these a Tulip rich, 

Within whose heart of fire, 

Thou ’It read a deep, warm passion, which 
Can never change or tire! 


F. S. O. 


52 


THE POETRY OF FLOWERS 


DECLARATION OF LOYE. 

TULIP. 

Then comes the tulip race, where beanty play* 

Her idle freaks ; from family diffused 
To family, as flies the father dust, 

The varied colours run ; and while they break 
On the charmed eye, the exulting florist marks, 

With secret pride, the wonders of his hand. 

Thomson. 

On the banks of the Bosphorus the tulip is the emblem of 
1 iconstancy ; but it is also the symbol of the most violent love. 
The wild tulip is found in the fields of Byzantium, with its 
crimson petals and golden heart. The petals are compared to 
fire, and the yellow heart to brimstone ; and when presented 
by an admiring swain to his mistress, it is supposed to declare, 
that such is the effect of the fair one’s beauty, that if he sees 
her only for a moment, his face will be as fire, and his heart 
will be reduced to a coal. 

The tulip was called lulipan , or turban , from the similarity 
of its corolla to the superb head-dress of the barbarous Turks, 
who almost worshipped its elegant stem and the beautiful vase- 
like flower which surmounts it. They never cease to admire the 
gorgeous hues of gold and silver, of purple, lilac, and violet, of 
deep crimson and delicate rose-colour, with every possible vari- 
ety of teint, which are harmoniously blended together and 
spread over the rich petals of this splendid member of the 
court of Flora. The resemblance its shape bears to the turban 
is thus alluded to in Lalla Rookh : — 


What triumphs crown the rich divan to-day, 
With turbaned heads of every hue and race, 
Bowing before that veiled and awful face, 

Like tulip-beds of different shape and dyes, 
Bending beneath the invisible west wind’s sighs. 


AND FLOWERS OF POETRY. 53 , 


Formerly a feast of tulips was celebrated in the seraglio of 
the Grand Seignior. Long galleries were erected, with raised 
seats, covered with the richest tapestry, presenting the appear- 
ance of an amphitheatre. On these were placed an almost 1 
infinite number of crystal vases, filled with the most beautiful 
tulips the world produced. In the evening the scene was 
splendidly illuminated ; the wax tapers, as they gave light, 
emitted the most exquisite odours. To these were added lamps 
of the most brilliant colours, forming on all sides garlands of 
opal, emeralds, sapphires, diamonds, and rubies. Innumerable 
singing-birds, in cages of gold, roused by the splendour of the 
scene, mingled their warbling notes with the melodious har- 
mony of instruments, whose cords were tuned by invisible 
musicians. Showers of rose-water refreshed the air ; and sud- 
denly the doors were opened, and a number of young odalisks 
entered to blend the brilliancy of their charms and appearance 
with that of the enchanted scene. 

In the centre of the seraglio a splendid pavilion shaded the 
Grand Seignior, who negligently reclined on costly skins; 
while the lords of his court, habited in their richest attire, were 
seated at his feet to behold the dances of the lovely women of 
the court in all the luxurious display of their light and dazzling 
dresses. These sometimes encircled, and at others glided round 
the vases of tulips, whose beauty they sung. It was not sel- 
dom that a cloud rested on the sultan’s brow; then he looked 
upon all around with a stern and severe aspect. What ! could 
chagrin then enter the soul of that all-powerful mortal ? Had 
he lost one of his provinces? Did he fear the revolt of his 
fierce janissaries ? Ah no ! two poor slaves alone had troubled ! 
his heart. He had observed, during the gayeties of the feast, a 
young page presenting a tulip to a beautiful girl who had cap- 
tivated him. The sultan was ignorant of their secrets, but a 
vague feeling of inquietude took possession of his heart — jeal- 
ousy tormented and beset him. But what is the jealousy of a 
sultan, or what are bolts and bars, against love ? A look and a 
flower are enough for that wicked god to change a horrid seraglio 
into a place of delight, and to avenge beauty outraged by chains. 


54 


THE POETRY OF FLOWERS 


Tulips have had their worshippers in other parts of the 
world beside Turkey. It was from 1644 to 1647 that the 
tulipomania exercised its influence in Hollar d. In those years 
tulips fetched enormous prices and enriched many speculators. 
The most precious kind was that called semper augustus ; this 
they valued at two thousand florins. They pretended that it 
was so rare, that there existed only two flowers of that species, 
one at Haerlem and the other at Amsterdam. A connoisseur, 
to procure one root, offered four thousand six hundred florins, 
with a beautiful carriage, horses, and equipments. Another 
gave twelve acres of land for a tulip-root. W e are also told 
of a person who had a very fine tulip ; but finding that there 
was a second root of the same nature at Haerlem, he repaired 
thither, and having purchased it at a most extravagant cost, 
pounded it to pieces with his foot, exclaiming, with exultation, 
“ Now my tulip is unique !” 

Yes! by those eyes of azure glory, 

Shedding their star-like smiles on me ; 

Yes ! by that cheek, changing and glowing, 

Warm as the plumage of yon bright lory, 

By those ringlets so richly flowing, 

Dearest, I love but thee! 

Yes! by that foot of fairy fleetness, 

Springing ever so light and free, 

By that figure’s gazelle-like grace, love, 



By thy spirit’s pure truth and sweetness, 

By all thy magic of mind and face, love, 
Ever I love but thee! 


f. s. o. 








AND FLOWERS OF POETRY. Jh 


DECEITFUL CHARMS. 

THORN-APPLE. 

The flowers of the datura languish beneath their sombre and 
drooping foliage while the sun shines ; but at the approach of 
night they put forth and are reanimated. Then they display 
their charms and unfold those immense bell-shaped petals, 
which Nature has formed of ivory and stained with purple, 
and to which she has confided a perfume, that attracts and 
invigorates, but is so dangerous that it produces ebriety and 
hysterics, even in the open air, on those who respire it. 


Heed not her sigh! 

’Tis Falsehood’s breath: 

Trust not her eye ! 

Belief is death. 

A serpent’s coil, 

Thy strength may burst: 

No power can foil 
Her snares accurst 

f. s. o. 


DEATH WILL REVEAL MY LOVE. 


MELILOT. 




This trefoil, in drying, exhales an agreeable fragrance. Its 
flowers are mostly yellow — sometimes white. 


56 THE POETRY OF FLOWERS 

Oh, melancholy Love ! amid thy fears, 

Thy darkness, thy despair, there runs a vein 
Of pleasure, like a smile ’mid many tears — 

The pride of sorrow that will not complain — 
The exultation that, in after years, 

The loved one will discover, and in vain, 

How much the heart, silently in its cell, 

Did suffer till it broke, yet nothing tell ! 


DIFFICULTY. 

BLACK-THORN. 

This species of plum-tree, from its colour, and from the 
innumerable thorns which it possesses, has been made the 
emblem of difficulty. In France they have a proverb to con- 
vey the idea of a difficulty, which compares it to a bundle of 
thorns. 

Love, all-defying Love, who sees 
No charm in trophies won with ease; — 

Whose rarest, dearest fruits of bliss 
Are plucked on Danger’s precipice! 

Bolder than they, who dare not dive 
For pearls, but when the sea’s at rest, 

Love, in the tempest most alive, 

Hath ever held that pearl the best, 

He finds beneath the stormiest water ! 

Moore. 


AND FLOWERS OF POETRY. 57 


DIGNITY. 

CLOVE GILLT FLOWER. 

The aromatic clove came originally from the Molucca islands ; 
the inhabitants of those islands wear its flowers as a mark ot 
distinction. They say that a chief has two, three, or four 
cloves, as we say of a distinguished nobleman, that he has 
many titles, or possesses several honours. 

True majesty’s the very soul of kings; 

And rectitude ’s the soul of majesty. 

Young. 


DIGNITY IN MISFORTUNE. 

ROSEBAT. 

The Rhododendron maximum, which is reared with care 
and difficulty as an ornament of European gardens and pleas- 
ure-grounds, can be seen in perfection nowhere but in the 
uncultivated recesses of our own continent. Near the sum- 
mits of mountains, on the banks of torrents and deep ravines, 
from which rivers take their rise, where the deep shade, moist 
soil, and dashing water, preserve the atmosphere in a state of 
perpetual humidity, ihese shrubs, in luxuriant size and vigour, 
are seen to cover tracts of great extent, at one season present- 
ing m unbroken landscape of gorgeous flowers, and at another 
wftn tneir evergreen foliage forming an impenetrable shelter 
for 'Jie wild animals of the forest. 


58 THE POETRY OF FLOWERS 

The noble mind, unconscious of a fault, 

No fortune’s frowns can bend, or smiles exalt; 
Like the firm rock, that in mid-ocean braves 
The war of whirlwinds and the dash of waves. 

Anon. 


DISCRETION— SECRECY. 

MAIDEN-HAIR . 

Botanists have in vain sought to find out the nature of 
this plant, which seems determined to conceal from their 
learned researches the secret of its flowers and its fruit. It 
coafides to zephyr alone the invisible germes of its young fam- 
ily. The Creator of all things selects the cradle for her chil- 
dren ; and it pleases him sometimes to form a sombre veil 
with their waving tresses, which ever conceals from vulgar 
gaze the cave where the solitary naiad sleeps, and where she 
has slept from the beginning of ages ; at other times they are 
borne on the wings of the wind to the summits of lofty towers, 
or the tottering remnant of an old chateau, where they shine 
like verdant stars ; and sometimes, disposed in light festoons, 
they adorn the retired and shady spots which shepherds love. 
This plant is the prettiest of all ferns; and Pliny states, that, 
though you plunge it in water, it will still remain dry. 

Do anything but love; or, if thou lovest, 

And art a woman, hide thy love from him 
Whom thou dost worship: never let him know 
How dear he is; flit like a bird before him; 


AND FLOWERS OF POETRY. 59 j 

I 

Lead him from tree to tree, from flower to flower; 

But be not won ; or thou wilt, like that bird, 

When caught and caged, be left to pine neglected, 

And perish in forgetfulness. 

Miss Landon. 


DISDAIN. 

YELLOW CARNATION. 

As disdainful people generally exact homage and possess lit- 
tle amiability, so with this plant, it is the least beautiful and 
fragrant of its kind, yet requires continual care and attention. 

Disdain and scorn ride sparkling in her eyes, 
Misprising what they look on. 

Shakspeare. 

In the flash of her glances, were passion and pride, 

In the curve of her lip, there was haughty contempt, 
As she spoke of the power to riches allied, 

Of the evil and pain from which she was exempt. 

F. S. O. 


60 THE poetry of flowers 


DISSENSION— RUPTURE. 

A BROKEN STRAW. 

The custom of breaking a straw, to express tnat treaties are 
broken, may be traced to the first days of monarchy ; it may 
even be said to be of royal origin. 

The old chroniclers relate, that in 92 2, Chanes the Simple, 
seeing himself abandoned by the principal lords of his court, 
had the imprudence to convoke an assembly at the Champ-de- 
Mai, at Soissons. He sought his friends there, but f< und only a 
factious crew, whose audacity was increased by his weakness. 
Some reproached him with indolence ; with his prodigalities, 
and his blind confidence in his minister Haganan; others were 
angry for the dishonour of his concessions to Raoul, chief of the 
Normans. Surrounded by their foul sedition, he prayed, prom- 
ised, and thought to escape by the display of new weaknesses, 
but in vain. When they saw him without moral courage, 
their audacity had no bounds; they even declared that he 
ceased to be their king. At these words, which they pronoun- 
ced with every sign of violence, accompanied by menaces, 
they advanced to the foot of the throne, broke some straws 
which they held in their hands, threw them roughly on the 
ground, and retired, after expressing by this action that they 
broke treaty with him. 

This example is the most ancient of its kind that we know; 
but it proves that for a long time this mode of breaking an 
oath had been in use, since the vassals did not think it neces- 
sary to add a single word of explanation, as they felt sure of 
being understood. 

Alas! how light a cause may move 
Dissension between hearts that love ! 

Hearts that the world in vain has tried, 

And sorrow but more closely tied; 



X 




V 


































k 






m 



















AND FLOWERS OF POETRY. 61 

That stood the storm when waves were rough, 

Yet in a sunny hour fall off 

Like ships, that have gone down at sea, 

When heaven was all tranquillity ! 

A something, light as air — a look, 

A word unkind or wrongly taken — I 

Oh ! love, that tempests never shook, 

A breath, a touch, like this hath shaken 

Moore. 

The last link is broken, 

That bound me to thee; — 

The words thou hast spoken 
Have rendered me ^ree ! 

Bayley. 


r % 

DISGUISE. 

COMMON STRAMONIUM. 

This plant is of a very dangerous nature, though it clothes it- 
self with an elegant indented foliage, and garnishes its branches 
with corollas of a graceful and negligent shape so purely white 
that it lulls suspicion of its true character to rest. Its charms 
only allure, thatlts powerful narcotic poison may more easily 
destroy. Several instances of its baneful effects upon persons 
who have endeavoured to chew it are on record. Only a few 
years back, a child who had amused herself with this poisonous 
plant, was so affected as to be in the greatest danger, from 
which she was rescued only by the prompt assistance of a med- 
J ieal practitioner. 

r 


62 THE POETRY OF FLOWERS 

First I would bid thee cherish Truth, 

As leading-star in virtues train; 

Folly may pass, nor tarnisn youth, 

But Falsehood leaves a poison-stain. 

Eliza Cook. 

Ay ! doomed, indeed ! — to worse than death ; 

To teach those sweet lips hourly guile; 

To breathe through life but Falsehood’s breath, 
And smile with Falsehood’s smile! 

f. s. o. 


Ah ! gay to you my smile may seem : ’t is but the lightning 
brief 

That flashes from a darkened soul through gathering clouds 
of grief. 

f. s. o. 


Though dark the heart that throbs beneath 
The cestus in despair; — 

What matters it? — the jewel-wreath 
Can hide the ruin there! 

And oh! though still my diamonds blaze 
Above a spirit lonely, 

The world — the heartless world — will gaze, 
And see my jewels only ! 

Yes! I would have them deem me blest; 

And wealth, at least, may be 
A glittering veil for broken rest 
And endless misery! 


F. S. O. 


AND FLOWERS OF POHUY. 63 


DO xM E JUSTICE. 

CHESTNUT- TREE. 

Thanks to Benevolus — he spares me yet 
These chestnuts ranged in corresponding lines. 

Cowper. 

Chestnuts are enclosed two, three, or four, in one hus£ or 
shell, covered with prickles. Those who are unacquainted 
with this beautiful tree neglect its fruit in consequence of its 
rough appearance. 

Within the oyster’s shell uncouth, 

The purest pearl may bide; — 

Trust me — you ’ll find a heart of truth 
Beneath that rough outside ! 

f. s. o. 

She saw Othello’s visage in his mind. 

Shaksfeare. 


DURABILITY. 

CORNELIAN CHERRY-TREE. 

A huntress issuing from the wood, 

Reclining on her cornel-spear she stood. 

Drtsen. 

The comd-tree does not grow higher than eighteen or twen- 
ty feet. It lives for ages, hut grows very slowly ; it blooms in 
he spring, and yields its crimson berries in the winter. The) j 


64 THE POETRY OF FLOWERS 

are a very handsome fruit, and were formerly made into tarts 
and robs de cornis. The Greeks have consecrated this tree to 
Apollo, because it is supposed that that gou presides over the 
works of the mind, which demand much time and reflection. 
Charming emblem ! teaching every one who wishes to culti- 
vate letters, eloquence, and poetry, that to merit the laurel crown, 
it is necessary to bear for a long time that of patience and med- ; 
itation. After Romulus had drawn the plan of Rome on the ; 
land which gave him birth, he launched his javelin on Mount 
Palatine; the shaft of the javelin is said to have been t)f cornel- 
tree; it took root, grew, and became an immense tree ; and this 
prodigy was regarded as the happy presage of the strength and 
duration of that extraordinary empire. 

The wood is very hard, and Evelyn says that when made in- 
to wedges it will last like iron. 

Lady ! my love for thee 
Is like the cornel-tree; — 

Once taken root, though slow, its growth is sure. 

It is no passion-flower, 

Lasting one summer-hour ; — 

While my heart lives — that feeling will endure. 

f s. >, 


AND FLOWERS OF POETRY. 


ILLUSTRATION OF PLATE. 

Primrose. — Honeysuckle. — Mary gold. 

Be not too early entangled in the chains of Love, or yours will be a life 
of inquietude. 

I would not tell thee for the world, 

Thy early love will change; 

I would not see thy sweet lip curled 
In scorn of words so strange. 

I would not hid thy smiles away, 

Nor quell thy speaking blush; 

For happy spirits lend the ray, 

And timid thoughts the flush: 

Yet Love is but a dangerous guest, 

For hearts so young as thine, 

Where Youth’s unshadowed joys should rest, 

Life’s springtime fancies shine! 

Too soon — oh! all too soon — would play 
Years hence, that meteor’s thrall, 

In gloom and glory o’er the way, 

Where now but sunbeams fall! 

Then, sweetest, leave the wildering dream, 

Till Time has nerved thy heart 

To brook the fitful cloud and gleam, 

Which must in love have part. 

Ah ! Life has many a blessed hour, 

That Passion never knows; 

And Youth may gather many a flower, 

Beside the blushing Rose! 


f 2 


f. s. o. 


66 THE POETRY OF FLOWERS 


EARLY YOUTH. 


PRIMROSE. 


No smiling knot 

01 early primroses upon the warm, 

Luxuriant, southern bank appears, unmarked 
By him. 

Carrington. 

Amid the sunny luxury of grass, 

Are tufts of pale-eyed primroses, entwined 

With many a bright-hued flower, and shrub that sscnts 

The all-voluptuous air. 

Carrington. 

The saffron tufts of the primrose announce the return of 
spring, when we see the snowy mantle of retiring winter orna- 
mented with embroidery of verdure and of flowers. The sea- 
son of hoar-frost has passed, but the bright days of summer 
have not yet arrived. The period is emblematical of a lovely 
girl just passing from childhood to youth. The timid Aglae 
has scarce attained her fifteenth year, and would fain join the 
romping games of her younger companions, but is unable to do 
so. She watches them, and her heart burns to follow them. 
But a distaste for innocent joys, which she cannot vanquish, 
disturbs the heart of this young beauty. An interesting pale- 
ness is spread over her face, her heart languishes, and she 
sighs, scarce knowing why. She has been told that, as spring 
succeeds to winter, so the pleasures of love follow those of .in- 
fancy. Poor girl ! you will learn that those pleasures are min- 
gled with bitterness and tears., The arrival of the primrose 
announces them to thee to-day, but it also tells thee that the 
happy period of infancy can never return. Alas! in a few 
years you will say, when observing the early primrose, “ The 
days of love and of youth are fled, never to return.” 


AND FLOWERS of POETRY. 67 


In dewy glades, 

The peering primrose, like sudden gladness, 

G.eams on the soul — yet unregarded fades — 

The joy is ours, but all its own the sadness. 

H. COLEKIDGE. 

This plant has been sung by many of our best poets, but by 
none so well as he from whose delightful poems we have al- 
ready quoted at the commencement of this article. The fol- 
lowing lines are extracted from a piece addressed to a friend 
with an early primrose: — 

Accept this primrose, friend ; it is a pledge 
Of the returning spring. What though the wind — 

The dread east wind — passed over the shivering earth, 

And shook from his deep rustling wings the snows, 

And bound the streamlets and the rivers all 
In crystal fetters ! What though infancy, 

And age, and vigorous manhood, felt the blast 
Before which many a human blossom fell ! 

Yet our fine Devon, in a sunny nook, 

Cherished this flower ; and when the soft west wind 
Came with its balmy breath and gentle showers, 

With simple grace this firstborn of the year 
Waved its pale yellow star ; and, lo ! for thee 
I pZ icked the welcome stranger. 

Sometimes, alas ! we see a lady matured in years, whose 
beauty has been marred by the ravages of time, decking herself 
m the gay habiliments of youth ; such a one may be compared 
to the primrose in autumn, whose untimely presence is reprov- 
ed in the following agreeable sonnet. It is by R. F. Housman, 
and was originally published in the Athenaeum : — 

The solitary primrose hath come back 
To haunt the green nctks of her happy spring, 

Alas, it is a melancholy thing, 

Thus to return, and vainly s^ive to tfttck 
The playmates of our youth ! Whither have fled 
The sweet companions of her vernal hour: ? 

The bee, the infant leaves, the gold**- 


68 


THE POETRY OF FLOWERS 


That heard the cuckoo’s music, as he sped 
O’er hill and dale — whither have they departed? 

And the blithe birds — have they too passed away? 
All, save the darkling, wren, whose plaiut ; ve lay 
Just tells the her'mitess is broken-hearted. 

Go, then, pale flower, and hide thy drooping head 
For all thy springtime friends are changed, or dead. 


I would not waste my spring of youth 
In idle dalliance. I would plant rich seeds 
To blossom in my manhood, and bear fruit 
When I am old. 

Hillhouse. 

The fresh, buoyant sense of being, 

That bounds in Youth’s yet careless breast, 
Itself a star, not borrowing light, 

But in its own glad essence bright. 

Moore. 


I saw her first — a petted child, 

Her eyes were blue as heaven; 

Her cheek was dimpled when she smiled; 

Her lips — a rosebud riven; 

Her form — the prettiest in the world; 

Her step — a fairy’s flight; 

Her hair — like clouds in sunshine — curled 
In clusters wild and bright. 

“A child,” I said; — so artless, wild, 

And full of mirth her mien, 

You ’d deem her but a lovely child, 
Though she was just fifteen. 


f. s. o. 


AND FLOWERS OF POETRY. 


69 


I wish the oud would never blow! 

’T is prettier and purer so: 

It blushes through its bower of green, 

And peeps above the mossy screen, 

So timidly — I cannot bear 
To have it open to the air! 

f. s. o. 


EGOTISM. 

poet’s narcissus. 

Narcissus fair 

As o’er the fabled fountain hanging still. 

Thomson. 

The poet’s narcissus exhales a very agreeable perfume; it 
bears a golden crown in the centre of its pure white petals,* 
which expand quite flat, the stem slightly inclining to one side. 
The cup or nectary in the centre, which is very short, is frequent- 
ly bordered with a bright purple circle, and sometimes the nec- 
tary is edged with crimson. 

Ovid, in his metamorphoses, tells us of the fate of the lovely 
and coy Narcissus. A thousand nymphs loved the handsome 
youth, but suffered the pangs of unrequited love. Viewing 
himself in the crystal fount he became enamoured of his own 
image. 


Narcissus on the grassy verdure lies ; 

But while within the crystal fount he tries 
To quench his heat, he feels new heats arise. 

For, as his own bright image he surveyed, 

He fell in love with the fantastic shade ; 

And o’er the fair resemblance hung unmoved, 

Nor knew, fond youth ! it was himself he loved. 

Ovid. 


70 


THE POETRY OF FLOWERS 


la consequence of this error he slighted the love of Echo, 
who witnessed his fruitless vows to the deceitful image. Addi- 
son thus translates the passage : — 

I 

She saw him in his present misery, 

Whom, spite of all her wrongs, she grieved to see ; 

She answered sadly to the lover’s moan, 

Sighed back his sighs, and groaned to every groan j 
“Ah, youth! beloved in vain,” Narcissus cries — 

“Ah, youth! beloved in vain,” the nymph replies. 

“Farewell!” says he; the parting sound scarce fell 
From his faint lips, but she replied, “ Farewell !” 

Then on the wholesome earth he gasping lies, 

Till death shuts up those self-admiring eyes. 

To the cold shades his flitting ghost retires, 

And in the Stygian waves itself admires. 

For him the Naiads and the Dryads mourn; 

Whom the sad Echo answers in her turn ! 

And now the sister nymphs prepare his urn; 

When looking for his corpse, they only found 
A rising stalk with yellow blossoms crowned. 


Self is the medium least refined of all, 

Through which Opinion’s searching beam can fall; 
And, passing there, the clearest steadiest ray 
Will tinge its light and turn its line astray. 

Moore. 





AND FLOWERS OF POETRY. 


71 


ELEGANCE. 

ACACIA ROSE. 

Art has produced nothing that may vie in freshness and in 
elegance of appearance with this beautiful flowering shrub; 
its inclining branches — the gayety of its verdure — its clusters 
of rose-coloured flowers, like bows of ribands, hung on branches, 
clothed with hairs of a reddish brown, never failed to excite 
admiration, and have combined to render it a proper emblem of 
elegance. Its appearance has been compared to that of an ele- 
gant female in her balldress. 


The world has won her — she has learned 
Its measured smile and tread; 

The foot that once the snowflake spurned 
By courtly rule is led ; 

And Fashion’s hand has smoothed the fold 
Of that luxuriant hair, 

Where once the tress of glossy gold 
Waved wildly on the air. 

r. s. o. 


Her matchless wealth of beauty beggars all 
Our courtly dames can boast; — her queenly form, 

Her majesty of mien, would grace a throne. 

f. s. o. 

I shall not soon forget thee, with thy dark and flashing eye, 
And the pretty little haughty head thou earnest so high; 
With thy throat, whose swanlike curve is the loveliest I 
have seen, 

And the spirit and the grace of thy merry maiden-mien. 


72 THE POETRY OF FLOWERS 

I shall not soon forget thee, with thy smile’s bewildering 
charm ; 

With thy snow-white dimpled hand and thy softly rounded 
arm; 

With thy form of fairy moulding, so perfect yet petite ; 

And the light and restless movements of thy dainty little 
feet. 

f. s. o. 


ELOQUENCE. 

WATER-LILY. 

' 

calls the lily from her sleep 

Prolonged beneath the bordering deep. 

Wordsworth. 

The Egyptians have consecrated to the sun the god of elo- 
quence, the flower of the Nymphsea Lotus. This flower closes 
at evening, and reclines on the bosom of the lake, from the 
setting of the sun until the rising of that splendid orb on the 
succeeding morn. Flowers of the lotus are inwoven in the 
head-dress of Osiris. The Indian gods also are frequently rep- 
resented on the waters as seated on this flower ! It is suppo- 
sed that this allegory may be understood as an allusion to the 
fable of the world rising from the midst of the waters. 

Expression is the dress of thought. 

Pope. 






AND FLOWERS OF POETRY. 73 

Thy words had such a melting flow, 

And spoke of truth so sweetly well, 

They dropped like heaven’s serenest snow, 

And all was brightness where they fell! 

Moore. 

Speech is the morning to the soul: 

It spreads the beauteous images abroad, 

Which else are furled and clouded. 

Dryden and Lee. 


ENCHANTMENT. 

VERVAIN. 

She nightshade strows to work him ill, 

Therewith the vervain and her dill, 

That hindereth witches of their will. 

Drayton. 

It were well if botanists would attach a moral idea to every 
plant they describe: we might then have a universal diction- 
ary of the sentiment of flowers — generally understood — which 
would be handed down from age to age, and might be renew- 
ed, without changing their characters every succeeding spring. 

The altars of Jupiter are overthrown : those ancient forests, 
that witnessed the mysteries of Druidism, exist no longer; and 
the pyramids of Egypt shall one day disappear, buried, like the 
sphinx, in the sands of the desert ; but the lotus and the acan 
thus shall ever flower upon the banks of the Nile, the mistletoe 
will always flourish upon the oak, and the vervain upon the 
barren knolls. 


74 THE POETRY OF FLOWERS 


Vervain was used by the ancients for divers kind of divina- 
tions ; they attributed to it a thousand properties ; among oth- 
ers, that of reconciling enemies ; and when the Roman heralds-at- 
arms were despatched with a message of peace or war to other 
nations, they wore a wreath of vervain. Drayton alludes to tins 
custom : — 


A wreath of vervain heralds wear, 

Among our garlands named, 

Being sent that dreadful news to bear, 

Offensive war proclaimed. 

The Druids held this plant in great veneration, and, before 
gathering it, they made a sacrifice to the earth. Probably they 
used it for food ; and Dryden thus mentions it : — 

Some scattering potherbs here and there he found, 

Which, cultivated with his daily care, 

And bruised with vervain, were his daily fare. 

We are told that the worshippers of the sun, in performing 
their services, held branches of vervain in their hands. Venus 
Victorious wore a crown of myrtle interwoven with vervain, 
and the Germans to this day give a hat of vervain to the new- 
married bride, as putting her under th« protection of that god- 
dess. Pliny also tells us that it was made use of by the Druids 
in casting lots, in drawing omens, and in other magical arts. 


Love is the subtlest enchanter, that ever 
Waved a wand or muttered a spell; 

A magical rod is each dart in his quiver, 

The heart’s hidden treasures to find and tell. 

f. s. o. 


AND FLOWERS OF POETRY. 75 


ENTERTAINMEN T— F EASTING. 

PARSLEY. 

Parsley was in great reputation among the Greeks. In their 
banquets they crowned their brows with its light tendrils, which 
they thought created gayety and so increased their appetites. 
At Rome, in the Isthmian games, the conquerors were crowned 
with parsley. It is thought this plant came from Sardinia, be- 
cause that province is represented on ancient medals under the 
form of a female, near whom is a vase in which is a bouquet of 
parsley. But this plant grows m all the fresh and shady places 
in Greece, and in the southern provinces of France. Guy de la 
Brosse affirms that it grows also near Paris, on Mount Valerian • 
but it is presumable that the plant he designates is not the trve 
parsley, since its introduction into France is attributed to Rabe- 
lais, who, according to the learned, brought it from Rome with 
the Roman lettuce ; if this had been the case, he would probably 
have attached his name to those modest presents. Rabelais, 
like Queen Claude, would then have been celebrated by the 
gourmands of every age. However this may bfe, the beautiful 
verdure of this plant forms an elegant garnishing to our dishes ; 
it is the luxury of the soup-kettle ; it adds to the delight of the 
most splendid dinners. A branch of laurel and a crown of pars- 
ley are the attributes we admit as belonging to the god of ban- 
quets. These plants have served for nobler uses ; but in the 
age of gastronomy, it is unnecessary to recall what was done in 
the age of heroism. 


We may roam through this world like a child at a feast, 
Who but sips of a sweet, and then flies to the rest ; 
And when pleasure begins to grow dull in the East, 

We may order our wings and be off* to the West; 


76 THE POETRY OF FLOWERS 

But if hearts that feel and eyes that smile, 

Are the dearest joys that Heaven supplies, 

We never need leave our own green isle, 

For sensitive hearts and for sunbright eyes. 

Moore. 


ENVY. 

BRAMBLE. 

The bramble is made the emblem of envy because it interferes 
so much with the growth of other plants. 

Oh ! she ’s a monster — made of contradictions ! 

Let Truth in all her native charms appear, 

And, with the voice of harmony itself, 

Plead the just cause of innocence traduced; 

Deaf as the adder — blind as upstart greatness — 

She sees nor hears ! And yet let Slander whisper, 
Rumour has fewer tongues than she has ears; 

And Argus’s hundred eyes are dim and slow 
To piercing Jealousy’s. 

Lillo. 

I know that Slander loves a lofty mark ; 

It saw her soar a flight above her fellows, 

And hurled its arrow to her glorious height, 

To reach her height and bring her to the ground. 

H. More. 


AND FLOWERS OF POETRY. 77 


ERROR. 

BEE-OPHRYS. 

This plant is singularly beautiftn m its appearance, and its 
flowers so much resemble the bee, that it is frequently mistaken 
for one resting on the plant. It commonly grows near woods, 
and in the open meadows. The most successful method of cul- 
tivation is by choosing a soil and situation as natural to them 
as possible, and by suffering the grass to grow around them. 

A spirit pure as hers, 

Is always pure even while it errs — 

As sunshine, broken in the rill, 

Though turned astray, is sunshine still ! 

Moore. 


The lover may 

Distrust that look which steals his soul away; — 
The babe may cease to think that it can play 
With heaven’s rainbow; alchymists may doubt 
The shining gold their crucible gives out.; — 

But Faith, fanatic Faith, once wedded fast 
To some dear falsehood, hugs it to the last. 

Moor,- 



THE POETRY OF FLOWERS 


| 78 

1 _ 

J FAREWELL. 

MICHAELMAS DAISY. 

This plant begins to put forth its flowers when others are 
becoming rare, and its beautiful flowers enliven our gardens as 
the floral season closes. It seems to be the afterthought of 
Flora, who smiles on our parterres as she leaves them. 

I heard thy low-whispered farewell, love, 

And silently saw thee depart; — 

Ay, silent ; — for how could words tell, love, 

The sorrow that swelled in my heart? 

They could not — oh ! language is faint, 

When Passion’s devotion would speak; 

Light pleasure or pain it may paint, 

But with feelings like ours it is weak ! * 

Yet tearless and mute though I stood, love, 

Thy last words are thrilling me yet, 

And my heart would have breathed, if it could, love, 
And murmured: “Oh! do not forget!” 

f. s. o. 


FALSEHOOD 

I 

MANCH IN EEL-TREE. 

The fruit of this tree is of the colour and size ot .*he golden 
pippin. Its beautiful appearance has tempted many Europeans 
to eat of it, who have lost their lives in consequence. The tree 


AND FLOWERS OF POETRY. 


79 


grows to the size of an oak, and its wood is considered very val- 
uable, being capable of high polish, and wearing well. In cut- 
ting them down, the juice of the bark is generally burnt out be- 
fore the work is begun, as it will raise blisters on the skin, and 
burn holes in linen ; and the labourers would be in danger of 
losing their sight, if it were to fly into their eyes. Vegetables are 
said not to grow under its shade, nor cattle to eat of its foliage ; 
except the*goat, which may eat it without sustaining injury. 


I turned from the monitor — smiled at the warning, 

And gave the whole wealth of my soul unto thee; 

I heard of thy falsehood — the idle tale scorning, 

I saw thy brow shadowed, and murmured : “ Be free !” 

f. s. o. 


[f eyes like thine can falsely shine, 

I ’ll cease to look for truth on earth ; 

If lips so sweet can breathe deceit, 

Ne’er trust I more to woman’s worth. 

f. s. o. 


t 


FIDELITY IN ADVERSITY. 

WALL-FLOWER. 

The rude stone fence with wall-flowers gay, 

To me more pleasure yields, 

Than all the pomp imperial domes display. 

Scott. 

This favourite flower of the cottage-garden loves to grow in 
the crevices of old walls ; to flourish in those of ruined towers, 


i 


80 the poetry of flowers 

or ornament the mouldering tablet which records the names of 
those now almost forgotten by surviving relatives. 

For this obedient zephyrs bear 
Her light seeds round yon turret’s mould, 

And, undispersed by tempest, there 
They rise in vegetable gold. 

LANSpORIfE. 

Not seldom do we observe a solitary wall-flower growing in 
the falling towers of an ancient castle, where it seems to jJace 
itself to conceal the unheeded injuries which the barbarians of 
feudal ages had recklessly done to the hattlemented pile. Scott 
says : — 

And well the lonely infant knew 
Recesses where the wall-flower grew, 

And honeysuckle loved to crawl 
Up the low crag and ruined wall. 

I deemed such nooks the sweetest shade 
The sun in all his round surveyed. 

We are told that the minstrels and troubadours of former 
days carried a branch of wall-flower as the emblem of an affec- 
tion which continues through all the vicissitudes of time, and 
survives every misfortune. 

During the reign of terror in France, the violent populace 
precipitated themselves toward the abbey of St. Denis, to 
disinter the ashes of their kings and scatter them to the winds. 
The barbarians, after breaking open the sacred tombs, were 
affrighted at the sacrilege, and went and hid their spoil 
in an obscure corner oehind the choir of the church, where 
they were forgotten amid the horrors of the revolution. The 
poet, Trenuel, some time after visited the spot, and found the 
sculptured fragments covered with the wall-flower. This plant, 
faithful in misfortune, diffused sweet perfumes in that religous 
receptacle, which might be likened to an offering of incense 


AND FLOWERS OF POETRY. 


SI 


ascending toward heaven. This scene produced the following 
lines from the inspired poet’s pen : — 


Mais quelle est cette fleur que son instinct pieux 
Sur 1 axle du zephyr am£ne dans ces lieux? 

Quoi! tu quittes le temple ou vivent tes racines, 
Sensible giroflee, amante des mines, 

Et ton tribut fidele accompagne nos rois? 

Ah! poisque la terreur a courbe sous ses lois 
Du lis infortune la tige souveraine, 

Que nos jardins en deuil te choisissent pour reine ; 
Triomphe sans rivale, et que ta sainte fleur 
Croisse pour le tombeau, le trone, et le malheur. 


There is a mystic thread of life, 

So dearly wreathed with mine alone, 

That Destiny’s relentless knife 
At once must sever both or none ! 

Byron. 

Oh ! what was love made for, if ’t is not the same, 

Through joy and through sorrow — through glory and shame ? 

Moore. 


FANCY’S FIRE. 

NIGHT-BLOWING cereus. 

This stately flower is found in different parts of South 
America, and in some of the West India islands. It expands 
a most beautiful corolla of nearly a foot in diameter. The in- 
side of the calyx is a splendid yeiow or bright sulphur colour; 
the petals of the purest white ; but viewing it in front, so as tq 


82 THE POETRY OF FLOWERS 

look into its deep bell, whence issue its long, trembling stamina, 
baffles all description ; for in one shade, it is of an aurora col- 
our; viewed in another, it resembles the blaze of burning nitre; 
and as the eye plays over it, we think we see, at times, a bril- 
iant purple.” — “ This grand flower opens its beautiful corol, and 
diffuses a most fragrant odour for a few hours in the night, then 
closes to expand no more.” 

O’er a blossom of Thought gay Fancy plays, 

And lights, with her smile, its leaves ; 

Till they gleam with a myriad teinted rays, 

As the sun, in a diamond, weaves 
His braid of resplendent rainbow bloom, 

That changes and glows, like a fairy’s plume. 

F. S. O. 


FASCINATION. 

CIRC JE A, OR, ENCHANTER’S NIGHTSHADE. 

Thrice round the grave Circaea prints her tread, 

And chants the numbers which disturb the dead. 

Darwin. 

As the name of this plant indicates, it is celebrated in magical 
incantations. Its flowers are rose-coloured, and veined with 
purple ; and commonly grow in damp and shady places, where 
shrubs fit for the purpose to which this has been applied may 
be supposed to be found. It is named Circaea after the enchant- 
ress Circe. 


A.ND FLOWERS OF POETRY. 83 

You ’ll speed your conquering way I trow, 
Through hearts, however narrow ; 

Those lips are Cupid’s graceful bow, 

That smile his sunlit arrow; 



FELICITY. 

SWEET SOLTAN. 

This sweet-scented species of centaury was introduced into 
England in the reign of Charles I. It is mentioned by Parkin- 
son, in 1629 — “ as a kinde of these corne-flowers, I must needs 
adjoyn another stranger of much beauty, and but lately obtained 
from Constantinople, where because, as it is said, that the great 
Turk, as we call him, saw it abroad, liked it, and wore it him- 
self, all his vassals had it in great regard, and hath been obtain- 
ed from them by some that have sent it into these parts.” And 
he adds, “ the Turks themselves do call it the sultan’s flower, 
and I have done so likewise, that it may be distinguished from 
all the other kindes.” It is also very commonly called Blacka- 
moor’s Beauty. We are told that, in the East, it made the 
emblem of supreme happiness. 

The spider’s most attenuated thread 
Is cord, is cable, to man’s tender tie 
On earthly bliss; — it breaks at every’ breeze. 

Young. 

There ’s a bliss beyond all that the minstrel has told, 

When two that are linked in one heavenly tie, 



84 


THE POETRY OF FLOWERS 


With heart never changing, and brow never cold, 
Love on through all ills, and love on till they die, 

Moore. 


FIRST EMOTION OF LOVE. 

LILAC. 

The lilac is consecrated to the first emotion of love, because 
nothing is more delightful than the sensations it produces on 
its first appearance on the return of spring. The freshness of 
its verdure, the pliancy of its tender branches, the abundance 
of its flowers — their beauty, though brief and transient — their 
delicate and varied colours ; all their qualities summon up those 
sweet emotions which enrich beauty, and impart to youth a 
grace divine. Anacreon has beautifully expressed this idea in 
the following lines : — 

Beauty’s rosy ray 
In flying blushes richly play ; 

Blushes of that celestial flame 

Which lights the cheeks of virgin shame. 

Albano was unable to blend, upon the palette which love I 
had confided to him, colours sufficiently soft and delicate to \ 
convey the peculiarly beautiful teints which adorn the human^ 
face in early youth ; 

The ve.vet down thal^spreads the cheek ; 

Yan Spaendock himself laid down his pencil in despair before 
a bunch of lilac. Nature seems to have aimed to produce 
massy bunches of these flowers, every part of which should 
astonish by its delicacy and its variety. The gradation of col- 
our, from the purple bud to the almost colourless flowers, is 
the least charm of these beautiful groups, around which the 


AND FLOWERS OF POETRY. 


85 


light plays and produces a thousand shades, which, all blend- 
ing together in the same teint, forms that matchless harmony 
which the painter despairs to imitate, and the most indifferent 
observer delights to behold. What labour has Nature bestow- 
ed to create this fragile shrub, which seems only given for the 
gratification of the senses ! What a union of perfume, of 
freshness, of grace, and of delicacy ! What variety in detail ! 
What beauty as a whole ! 

There, on the banks of that blight river bom, 

The flowers that hung above its wave at mom, 

Blest not the waters as they murmured by. 

With holier scent and lustre, than the sigh 
And virgin glance of first affection cast, 

Upon their youth’s smooth current as it past. 


Moore. 


FLAME 


YELLOW-IRIS. 


Amid its waving swords, in flaming gold 
The iris towers. 


C. Smith. 


The Iris Germanica are rustic plants, which the German 
peasants love to grow on the tops of their cottages. When 
these beautiful flowers are agitated by the breeze, and the sun 
gilds their petals, teinting them with hues of gold, purple, and 
azure, they have the appearance of light and perfumed flames, 
glistening over the rustic dwellings. This appearance has gain- 
ed the flower the name of “Flaming Iris.” 



H 


86 TtfE POETRY OF FLOWERS 

The German peasant wreathes his roof with flower in rich 
attire, 

For sun-tressed Iris waves for him her urns of fragrant fire: 
But we have let a holier gem our lowly home illume ; — 
The flower of love our lattice eights with undecaying bloom. 

f. s. o. 


FLATTERY. 
venus’s looking-glass. 

As soon as the sun sheds itsgolden light upon our cornfields, 
we see shining in the midst, the bright purple corollas of the 
starry flowers of this pretty species of campanula, which, from 
its resemblance to a mirror, has been named Venus’s looking- 
glass. If the sun’s rays be intercepted by clouds, these beauti- 
ful flowers immediately close, as at the approach of night. 
There is an ancient fable which tells us that Venus accidental- 
ly let one of her mirrors fall on the earth. A shepherd found 
it, and casting his eyes upon the glass, which had the power 
of adorning the object it reflected, he forgot his mistress, and 
had no other wish than to admire himself. Love, who feared 
the consequences of so foolish an error, broke the glass, and 
transformed the remains into this pretty plant. 

Beautiful ? yes ! Those deep-blue eyes 
On heaven have gazed, till they caught its dyes; 

Thou hast been seeking the rose, to sip 
its dewy bloom for thy balmy lip; 

Thou hast been out in the radiant air, 

Wooing the sun with thy wavy hair; 


AND FLOWERS OF POETRY. 87 

# For a rich gleam breaks through its braids of brown, 
Like a smile from Day’s bright Eye sent down ; 
Beautiful? yes! but the rose will fade; 

The smile grow dim which the bright eyes wear; 

The gloss will vanish from curl and braid, 

And the sunbeam die in the drooping hair ! 

Turn from the mirror! and strive to win 
Treasures of loveliness still to last; 

Gather earth’s glory and bloom within ! 

They will be thine when youth is past. 

f. s. o. 

A would-be belle once broke her glass, 

For reflecting a loveless frown she wore; 

And you are breaking my heart, sweet lass, 

For telling you truth, like the mirror of yore! 

f. s. o. 


FLATTERY’S SMILE. 

BUCKBEAN. 

By that lake whose silvery waters reflect the cloudless sky, 
do you see those clusters of flowers, white as the drifted snow ? 
The underside of those beautiful flowers is lightly tinged with 
a rosy hue ; and a tuft of filaments of great delicacy and of 
dazzling whiteness, springs from each alabaster cup. Lan- 
guage will not convey a just idea of the elegance of this plant ; 
but, if once seen waving gently over the water’s brink, whose 
transparency and freshness it seems to increase, it will never be 
forgotten. The flowers of the buckbean never open in stormy 


88 THE POETRY OF FLOWERS 

weather, but bloom only in calm and sunshine ; and the calm 
which it enjoys seems to be imparted to every object around it. 

There’s danger in the dazzling eye, 

That woos thee with its witching smile; 

Another , when thou art not by, 

Those beaming looks would fain beguile. 

f. s. o. 


FLY WITH ME. 

venus’s car. 

This graceful flower, as its name implies, resembles an ele- 
gant chariot, drawn by a pair of doves, which are hidden in a 
part of the corolla, and fly out when it is pulled down by the 
the hand. The colour of the flower is usually a deep blue. 

Gay Zephyr bore to my feet, last night, 

This curved and carved barouche of blue ; 

I thought it, at first, a flower in flight: 

And so it will seem, perhaps, to you. 

But press on the foremost petal, sweet, 

That rose-teinted finger, soft and light, 

And two young doves your touch will meet, 

And spring from their couch to your startled sight . 

Gay Zephyr a secret whispered low, 

When with the gift to my feet he flew; — 


AND FLOWERS OF POETRY. 89 

It may be a fable — I thought it so: 

And so it will seem, perhaps, to you. 

But he said the queen of fairy-land — 

The elfin Venus, wild and bright, 

With a wave of her tiny, star-tipped wand, 

Could charm these delicate doves to flight! 

At play m her firefly-lighted bower, 

He had heard her order her blooming car; 

And she smiled, as she soared in the azure flower, 

As smiles, in yon blue heaven, a star.! 

Oh! could I only summon her here, 

And bid her bewitch the birds once more! 

How fit a phaeton this, my dear, 

To waft us lovers the wild wave o’er! 

You should be queen of a fairy realm ! 

There’s a trifling fault in the vehicle — true: 

It is rather too small for both , my gem: 

And so it will seem, I fear, to you! 

F. S. O. 


FOLLOW ME. 

STAR OF BETHLEHEM. 

The star-like flowers of this plant are common among the 
grass in our pastures. 

H 2 


X 


90 


THE POETRY OF FLOWERS 

Dost thou not see in Fancy’s eye 
A bird with wings of emerald light, 
That soars, for ever, far on higl 

And, as it rises, beams more bright? 
What sings its plaintive voice to thee? 
“Follow, follow, follow me!” 

The bird is Hope! ’t would lead the soul, 
With its sweet tones and seraph-bloom, 
From worldly woes — from earth’s control: 

’T will fold in heaven its shining plume ! 
Up! up! thy spirit’s pinions try! 

Oh ! keep that brilliant warbler nigh ! 

Dost thou not see in Fancy’s eye 
A soft, a pure, undazzling star, 

That seems to melt in yonder sky, 

Yet still keeps smiling on afar? 

What speaks its eloquen smile to thee? 

“ Follow, follow, follow me !” 

The star is Love — celestial Love! 

’T would woo from bowers of bliss below, 
To those where broods the deathless dove, 
With beaming wing and breast of snow ! 
Oh! let thy soul’s affections twine, 

For ever, w* h that light divine! 


f. s. o. 


AND FLOWERS OF POETRY. 91 


FOLLY. 

COLUMBINE. 

Bring hither the pincke and purple cullambine. 

Spenser. 

This is Folly, Childhood’s guide. 

This is Childhood at her side. 

Hawkeswortii 

This graceful flower has long been a favourite inhabitant of 
the rustic flower-border, and is commonly found in the open 
places of forests, or extensive woods. Why it has been made 
the emblem of folly it is difficult to say, some affirming that it 
is on account of the shape of its nectary, which turns over in 
a similar manner to the caps of the ancient jesters; while 
others suppose it to be on account of the party-colours which it 
generally assumes. 

Folly of old, with gay deceit, 

When Love was seeking Virtue’s bower, 

Led the bright boy to Beauty’s feet; 

And she, in that one fatal hour, 

Enwove a chain so strong, so fair, 

It bound them both for ever there! 

f. s. o. 


FORESIGHT. 

HOLLY. 

The providence of an all-wise Creator is show in an admi- 
rable manner in this beautiful plant. The great hollies which 


92 




THE POETRY OF FLOWERS 


grow in the forest of Needwood bear leaves bristling with 
thorns to the height of eight or ten feet, and above this height 
the leaves cease to be thorny. There the plant has no need to 
arm itself against enemies which cannot reach it. This tree, 
with its dazzling verdure, is the last ornament of our forests, 
when they are despoiled by the winter’s frosts and chilling 
blasts ; its berries serve as food for the little birds which remain 
with us through the inclement season of winter ; and it also j 
offers them a comfortable shelter amid its foliage. 

In that delightful work, “Jesse’s Gleanings in Natural His- 
tory,” the eloquent author, speaking of the holly, says : “The 
economy of trees, plants, and vegetables, is a curious subject of 
inquiry, and in all of them we may trace the hand of a benefi- 
cent Creator. The same care which he has bestowed on his 
creatures is extended to plants ; this is remarkably the case with 
respect to hollies ; the edges of the leaves are provided with 
strong sharp spines, as high up as they are within the reach 
of cattle ; above that height the leaves are generally smooth, 
the protecting spines being no longer necessary.” 


0 reader ! hast thou ever stood to see 
The holly-tree? 

The eye that contemplates it well perceives 
Its glossy leaves ; 

Ordered by an Intelligence so wise 
As might confound an atheist’s sophistries. 

Below a circling fence, its leaves are seen, 
Wrinkled and keen; 

No grazing cattle through their prickly round 
Can reach to wound; 

But, as they grow where nothing is to fear, 
Smooth and unarmed the pointless leaves appear. 

Southey. 


AND FLOWERS OF POETRY. 


ILLUSTRATION OF PLATE. 

Forget-me-not. — Cypress. — Pimpernel. 

Forget me not, for, alas ! we may never meet again. 

One kiss for thy brow, love — 

One sigh to the past — 

One heart-echoed vow, love — 

The fondest and last ! — 

For the true and warm-hearted 
In anguish must sever; 

It is o’er — we are parted, 

Henceforth and for ever! 

Yet as Night’s scented flower, 

Shunning Sunlight’s caresses, 

Gives the hallowed star-hour 
All the wealth it possesses, 

So to thee, in thy sadness, 

Through darkness and doubt, 

My soul all its madness 
Of love shall breathe out. 

And thou — wilt thou cherish 
My memory yet? 

Yes, yes, though we perish, 

' We cannot forget! 

Ah! doomed, broken-hearted, 

In anguish to sever ! 

It is done — we are parted, 

Henceforth and for ever! 


F. S. O. 


94 


THE POETRY OF FLOWERS 


FORGET-ME-NOT. 

MYOSOTIS, OR MOUSE-EAR. 

Nowhere are the beautiful flowers of this, plant found in such 
great abundance, as on the banks of a brook near the Luxum- 
bourg. The peasants call that brook the “Fairy Bath,” or the 
“ Cascade of the enchanted Oak.” These two names are given 
to it on account of the beauty of its source, whence it issues 
murmuring at the foot of a very old oak. The waters of the 
brook at first roll on from cascade to cascade, under a long vault 
of verdure, and afterward flow gently through an extensive 
meadow ; then they appear to the enchanted eye as a long silver 
thread. The southern bank alone is covered with a thick 
tapestry of mouse-ear; its pretty flowers sparkle in July, clad 
in as bright a blue as that of the cerulean sky. Then they in- 
cline as if they took delight in admiring themselves in the 
crystal waters, whose purity is unequalled. On this spot the 
young girls frequently assemble to celebrate their birthdays by 
dancing on the borders of the brook. When crowned with 
these lovely flowers, we might suppose them to be nymphs 
celebrating games in honour of the naiad of the enchanted 
oak. 

It is related that a young couple, who were on the eve of be- 
ing united, while walking along the delightful banks of the 
Danube, saw one of these lovely flowers floating on the waves, 
which seemed ready to carry it away. The affianced bride ad- 
mired the beauty of the flower, and regretted its fatal destiny. 
The lover was induced to precipitate himself into the water, 
where he had no sooner seized the flower than he sank into the 
flood ; but making a last effort, he threw the flower upon the 
shore, and at the moment of disappearing forever, he exclaim- 
ed, “ Vergils mich nichl ,” since which time this flower has been 
made emblematical, and taken the name of “ Forget-me-not.” 


AND FLOWERS OF POETRY. 


95 


Lay to thy heart this token-flower! 

With Love’s own tears its leaves are wet. 
’Twill whisper, in its dying hoar, 

“Do not forget ,v 


FORSAKEN. 

GARDEN ANEMONE. 

The coy anemone, that ne’er uncloses 
Her lips until they’re blown on by the wind. 

H. Smith. 

Anemone was a nymph beloved by Zephyr. Flora, bein 
jealous, banished her from her court, and changed her into 
flower, which always opens at the return of spring. Zephyr has 
abandoned this unfortunate beauty to the rude caresses of 
Boreas, who unable to gain her love, agitates her until her blos- 
soms are half open, and then causes her immediately to fade. 

Go, deceiver, go! 

Some day, perhaps, thou ’It waken 
From pleasure’s dream, to know 
The grief of hearts forsaken ! 

Moore. 


f. s. o. 



L 


be c5 


96 THE POETRY OF FLOWERS 


FRIENDSHIP 

IVY. 

I love the ivy-mantled tower, 

Rocked by the storms of thousand years. 

CUNMTICGHAM. 

Friendship has chosen for its device an ivy which clothes a 
fallen tree, with these words: “ Rien ne peut m'en detacher .” 
In Greece,, the altar of Hymen was surrounded with ivy, a 
sprig of which was presented by the priest to a new-married 
spouse, as the symbol of an indissoluble knot. The Bacchan- 
tes, old Silenus, and Bacchus himself, were crowned with ivy. 
The author of a French work says : “ Nothing is able to separ- 
ate the ivy from the tree around which it has once entwined 
itself; it clothes the object with its own foliage in that inclem- 
ent season when its black boughs are covered with hoar-frost ; 
the companion of its destinies, it falls when the tree is cut 
down. Death itself does not detach it, but it continues to dec- 
orate with its constant verdure the dry trunk it had chosen as 
its support.” 

It is a popular error that the ivy is a parasitical plant, deri- 
ving its support from the tree which it environs, when in 
fact it is sustained by its own vital powers ; its roots are fixed 
in the earth, and the sap is conveyed into its branches by the 
same laws which regulate the vital functions of other mem- 
bers of the vegetable kingdom. 

Thou art a friend indeed, 

Most truly true and kind; 

Thou givest me, in my spirit-need, 

Thy wealth of heart and mind ! 

F. S. O. 


AND FLOWERS OF POETRY. 97 


GRIEF. 


HYACINTH. 

According to mythologists, this flower sprang from the blood 
of Hyacinthus, who was killed by a quoit, through the agency 
of Zephyr, who blew it from its course as it passed from the 
hand of Apollo, and smote the unfortunate youth on the head. 
Hurd mentions 

The melancholy hyacinth that weeps 
All night, and never lifts an eye all day ; 

probably in allusion to the melancholy fate of Hyacinthus. 

The following address to the hyacinth is extracted fromTait’s 
Magazine. The lines were sent to the editor of that talented 
periodical as the production of a young country-girl in the north 
of Ireland. We agree with him in saying (if that statement 
be true) that they are indeed more than wonderful. They are 
introduced here with great propriety, as they refer to the fate 
of Hyacinthus, as detailed in the preceding paragraph. 

Oh! mournful, graceful, sapphire-coloured flower, 

That keepst thine eye for ever fixed on earth! 

Gentle and sad, a foe thou seemst to mirth — 

What secret sorrow makes thee thus to lower? 

Perhaps ’tis that thy place thou cannot change, 

And thou art pining at thy prisoned lot ; 

But oh ! where couldst thou find a sweeter spot, 

Wert thou permitted earth’s wide bounds to range ? 

In pensive grove, meet temple for thy lorm, 

Where, with her silvery musicj doth intrude 
The lucid stream, where naught unkind or rude 
Durst break of harmony the hallowed charift. 


I 


98 





THE POETRY OF FLOWERS ^ 


Thy beauties, all unseen by vulgar eyes, 

Sol, in his brightness, still delights to view, 

He clothes thy petals in his glorious hue, 

To show how much of old he did thee prize. 

\ 

And what the sighing zephyr hither brings, 

To wander in these muse-beloved dells — 

It is to linger midst thy drooping bells, 

While vain repentance in thine ear he sings. 

And, sweetest flower, methinks thou hast forgiven 
Him who unconsciously did cause thy death ; ' 

For, soon as thou hadst yielded up thy breath, 

With grief for thee his frantic soul was riven. 

And thou wert placed where mingle wave and breeze 
Their dreamy music with the vocal choir, 

Whose varied harmonies might seem a lyre, 

Striving with dying notes thy soul to please-- 

Where winter ne’er ungraciously presumes 
To touch thee with his sacrilegious hand — 

Where thy meek handmaids are the dews so bland — 
Where spring around thee spreads her choicest blooms. 

* ’Tis not revenge nor pining wretchedness, 

Thy head in pensive attitude that throws — 

’T is extreme sensibility, that shows 
In gesture gratitude speech can ’t express. 

E’en while I pay this tributary praise, 

Methinks a deeper tinge thy cheek doth flush; 

What, lovely one, need make thee thus to blush, 

And turn away from my enraptured gaze? 

No, gentle hyacinth, thou canst not grieve, 

When things so lovely worship in thy train — 

The sun, the wind, the wave — oh! it were vain 
To sum the homage which thou dost receive. 

The sad and musing poetess you cheer — 

At sight of thee Mem’ry’s electric wings 
Waft to her soul long, long- forgot f en things — 

Loved voices hushed in death she se ms to hear. 


AND FLOWERS OF POETRY. 99 

They said her cheek of youth was beautiful, 

Till withering sorrow blanched the white rose there. 

Maturin. 

The withered frame, the ruined mind, 

The wreck by passion left behind, 

A shrivelled scroll, a scattered leaf, 

Seared by the autumn blast of grief! 

Byron. 

No words suffice tha suffering soul to show; 

For Truth denies all eloquence to Wo! 

Byron. 


GENEROSITY. 

ORANGE-TREE. 

This is a very ancient genus, and combines many excellences 
in its species; it is a handsome evergreen; it has most odorif- 
erous flowers, and brilliant, fragrant, and delicious fruits. 
Loudon observes, that “ it is one of the most striking of fruit- 
bearing trees, and must have attracted the notice of aboriginal 
man long before other fruits of less brilliancy, but of more nu- 
triment or flavour. The golden apples of the heathens, and 
forbidden fruit of the Jews, are supposed to allude to this fam- 
ily, though it is remarkable that we have no authentic records 
of any species of citrus having been known to, certainly none 
were cultivated by, the Romans.” In the latter part of the 
seventeenth century, it was a very fashionable tree in conser- 
vatories, where few exotics of other sorts were at that time to 


100 THE POETRY OF FLOWERS 


be found. It has been likened to a generous friend, who is ever 
loading us with favours. 


The truly generous still deny themselves , with cheerful pride, 
That, when a suffering brother pleads, he need not be denied ! 

f. s. o.* 


GLORY. 

LAUREL. 

The Greeks and Romans consecrated crowns of laurel to 
glory of every kind. With them they adorned the brows of 
warriors and of poets, of orators and philosophers, of the vestal 
virgin and the emperor. 

This beautiful shrub is found in abundance in the island of 
Delphos, where it grew naturally on the banks of the river Pe- 
neus. There its aromatic and evergreen foliage is borne up by 
its aspiring branches to the height of the loftiest trees; and it 
is alleged that by a secret and peculiar power they avert the 
thunderbolt from the shores they beautify. The beautiful 
Daphne was the daughter of the river Peneus. She was belov- 
ed by Apollo ; but, preferring virtue to the love of the most el- 
oquent of gods, she fled, fearing that the eloquence of his 
speech should lead her from the paths of virtue. Apollo pur- 
sued her ; and as he caught her, the nymph invoked the aid of 
her father, and was changed into the laurel. 

In our free land, where letters are so extensively cultivated, 
they who succeed in exciting popular favour meet with more 
remuneration than in ancient days ; but how few have been 
honoured so highly as their merits demand, until the last debt 
of nature has been paid, and then the marble bust, wreathed 


101 



AND FLOWERS OF POETRY. 

with bay, is raised to immortalize his fame, when his ears are 
become deaf to praise. He seldom receives his honours due 
while he enjoys the beauties of this terrestrial globe; and 
Chare has said, in his “Address to a Poet” — 

The bard his glory ne’er receives, 

Where summer’s common flowers are seen, 

But winter finds it, when she leaves 
The laurel only green ; 

And Time, from that eternal tree, 

Shall weave a wreath to honour thee. 


Real glory 

Springs from the silent conquest of ourselves. 

Thomson. 

• * ♦ 

Glory is like a circle in the water, 

Which never ceaseth to enlarge itself, 

Till, by broad spreading, it disperse to nought. 

Shakspeare. 


f 

GRACES. 

HUNDRED-LEAVED ROSE. 

This tree bears a very fine double flower, of a deep crimson 
colour ; its perfume, however, is weak. 

It is mentioned by Pliny as growing around Campania, in It- 
aly, and in the neighbourhood of Philippi, in Greece; and its 
flowers are so double that they have a hundred leaves. This 
rose does not, however, grow there naturally, but near to Mount 
Pangseus, and when transplanted thence to Philippi, they yield 
finer flowers than on their native mountain. It is recorded that, 


102 THE POETRY OF FLOWERS 

when the Graces accompany Venus and her ministering Cupids, 
they are crowned with myrtle ; and when they follow the Mu- 
ses, they afre crowned with wreaths of the hundred-leaved rose. 

Gifted and worshipped one! genius and grace 
Play in each motion and beam in thy face. 

F. S. O. 

So light — that, gazing breathless there, 

Lest the celestial dream should go, 

You’d think the music in the air 
Waved the fair vision to and fro! 

Or that the melody’s sweet flow 
Within the radiant creature played; 

And those soft wreathing arms of snow 
And white sylph-feet, the music made. 1 

Now gliding slow, with dreamy grace, 

Her eyes beneath their lashes lost — 

Now motionless, with lifted face, 

And small hands on her bosom crossed — 

And now, with flashing eyes, she springs, 

Her whole bright figure raised in air, 

As if her soul had spread its wings, 

And poised her one wild instant there! 

F. S. O. 


AND FLOWERS OF POETRY. 103 


GRANDEUR. 

ASH. 

The towering ash is fairest in the woods. 

Yirg.il. 

There is a singular allegory in the Edda, which states that 
the gods hold their court under the shade of a miraculous ash, 
whose extensive branches shadow the whole surface of the 
earth ; the top of the tree touches the heavens, and its roots 
descend to the regions of Pluto. An eagle constantly reposes 
on the tree, to observe everything, and a squirrel continually 
ascends and descends to make report. Beneath its roots flow 
two fountains. In the one wisdom is concealed, and in the 
other is found the knowledge of things to come. Three vir- 
gins are intrusted with the charge of this sacred tree, who ev- 
er remain under its branches to refresh the tree with these sal- 
utary waters, which, on falling back on the earth, form a dew 
that produces honey. This effect has been ingeniously com- 
pared to the results of inventive science. 

Still, in the vast and the minute we see 
The unambiguous footsteps of the God, 

Who gives its lustre to an insect’s wing, 

And wheels his throne upon the rolling worlds. 

Cowper. 


104 the poetry of flowers 


HAUGHTINESS — PRIDE. 

AMARYLLIS. 

Gardeners say that the amaryllis, of which there are nu- 
merous varieties, is a proud plant, because it frequently refu- 
ses its flowers to their most earnest cares. The Guernsey lily 
is a charming flower, and closely resembles the tube-rose in 
appearance and size; it is of a cherry-red colour, *and, when 
the sun shines upon it, it seems studded with gems of gold. 
The name of this plant is derived from a Greek word, which 
has been not inappropriately translated by Monsieur Pirolle, as 
significant of splendour, and perhaps we have no flowering 
plant more beautifully gay than the amaryllis. 

Alas! for the gay, who, in gorgeous array, 

And chariots of pride, to God’s altars are rolled! 

They would turn from a love-breathing seraph away, 

If he came not apparelled in purple and gold. 

f. s. o. 


HAVE I CAUGHT YOU AT LAST? 
venits’s flytrap. 

The leaves of this singular plant expand to the light, and 
are remarkably sensible to the touch of any extraneous body: 
thus, by suddenly folding, they often enclose insects or the 
smaller leaves of neighbouring plants. 


AND FLOWERS OF POETRY. 105 

Have I caught you at last, gentle rover? 

Do I see you at length at my feet? 

Will you own yourself, sighing, my lover? 

This triumph is sudden as sweet! 

Long vainly I strove to allure him; 

That tender endeavour is past; 

My task must be now , to endure him ! 

Heighho! but I’ve caught him at last! 

F. S. O. 


HEALING. 

BALM OF GILEAD. 

This exquisite balm was justly esteemed by the ancients, and 
seems to have been prepared by nature to soften our pains. 
We often employ the word balm in a moral sense, to express 
that which tempers and sooths our sorrows. Beneficent virtue 
and tender friendship are true balms which heal the wounds 
of the heart — wounds a thousand times more insupportable than 
all physical ills. 

And when my heart would gush with feeling 
To catch one kind, one sunny look, 

When love would be a leaf of healing , 

But scorn a thing I will not brook — 

Oh! it is hard to put the heart 
Alone and desolate away, 

To curl the lip in pride, and part 
With the kind thoughts of yesterday. 

Willis. 



106 


THE POETRY OF FLOWERS 


l 


HEARTLESS BEAUTY. 

DAHLIA. 

The gorgeous flowers of the dahlia allure only to disappoint 
us, for they are without fragrance. 


The light, the grace, the brilliant bloom, 

Of Beauty, unendowed with heart, 

Resemble flowers without perfume, 

And just as little joy impart. 

f. s. o. 


HAWTHORN. 

Now hawthorns blossom, now the daisies spring. 

Pope 

The hawthorn has been made the emblem of hope, because the 
young and beautiful Athenian maids brought its branches, cov- 
ered with flowers, to decorate their companions on their nup- 
tial day, while they bare larger boughs of it to the altar. Tne 
altar of Hymen was lighted by torches made from the wood of 
this tree ; and it also formed the flambeaux which illuminated 
the nuptial chamber. We are told that the Troglodytes in the 
simplicity of their minds, tied hawthorn branches to the dead 
bodies of their parents and friends ; and at the interment of the 
corpse they strewed its branches upon the body, and afterward 
covered it with stones, laughing through the whole of the 


AND FLOWERS OF POETRY. 107 

ceremony. They considered death as the dawning of a life 
which should never cease. 

Gives not the hawthorn-bush a sweeter shade 
To shepherds, looking on their silly sheep, 

Than doth a rich embroidered canopy 
To kings, that fear their subjects’ treachery? 

Oh! yes, it doth; a thousand-fold it doth. 

Fair Hope, with light and buoyant form, 

Came smiling through the clouds of Care, 

Glanced bright defiance on the storm, 

And hung her bow of promise there. 

f. s. o. 


HYPOCRISY. 

EBONY. 

Pluto, god of the infernal regions, was seated upon a throne 
of ebony. We say of one notoriously wicked, that “he has a 
heart as black as ebony.” This proverb originated in the 
circumstance of the aubier of the ebony-tree being white, its 
foliage soft and silvery, its flowers brilliant and beautiful, while 
the heart only of the tree is black. 

Hypocrisy, the only evil that walks 
Invisible, except to God alone, 

By his permissive will through heaven and earth. 

Milton. 



108 THE POETRY OF FLOWERS 

Her brow is white as stainless snow, 

As ebon, black, her heart of sin — 

Her cheek with morning’s blush doth glow 
O’er midnight gloom within! 

F. S. 0. 


HOW CAME YOU HERE? 

WALKING LEAF. 

Thts is a curious fern, striking root at the extremity of the 
frond or leaf, from which root new plants arise. It is found in 
rocky woods. 

You know mamma, can’t bear you, love, 

You know papa dislikes you, dear; 

You know my brothers cut you, dove; — 

Alas! how came you here? 

You know your fortune’s gone, my own! 

You know your coat was made last year; — 

I never ramble now alone; — 

What could have sent you here? 

Perhaps you do not know, my sweet — 

Sir John will soon propose — I fear ! 

How very awkward, should you meet ! 

What nonsense brought you here ? 








t 

















AND FLOWERS OF POETRY. 109 

I vow I’m quite afraid to stir, 

* Lest you are in the way or near ! 

I needs must say I wish you, sir! — 

Oh! anywhere but here! 

f. s. o. 


I ATTACH MYSELF TO YOU. 

SCARLET IPOMCEA, OR INDIAN JASMINE. 

This beautiful twining plant is a species of blind weed, or 
something analogous; like the convolvolus, it requires some- 
thing to support its light tendrils ; and, without fatiguing that 
support, wreaths it with verdure and flowers. 

To cheer thy sickness, watch thy health — 
Partake, but never waste thy wealth — 

Or stand with smiles unmurmuring by, 

And lighten half thy poverty! 

Eyron. 

Jasmine, some like silver spray, 

Some like gold, in the morning ray. 

Indian Bride. 


k 


110 THE POETRY OF FLOWERS 


I DIE IF NEGLECTED. 

LAURUSTINTJS. 

This is one of the prettiest of evergreen shrubs, and is the 
gift of Spain to our highly-favoured land. In winter it is the 
ornament of our groves, displaying its shining leaves and snowy 
white flowers when other trees have ceased to bloom. 

Neither the hot breath of summer nor the cold kiss of winter 
can rob it of its charms ; but to preserve it we must tend it with 
assiduous care. The symbol of a kind and delicate friendship, 
it ever seeks to please, yet dies if neglected. 


While you cherish me, dearest, “ through good and through 
ill,” 

Life’s summer I ’ll bless, and its winter defy ! 

’Mid sunshine and tempest, I ’ll smile on thee still ; 

But oh ! if you ever neglect me, I die ! 

While you watch o’er Love’s glowing but delicate flowers, 
Every glance of affection — each soul- winged sigh — 

All the bloom of my cheek and my heart — shall he yours; 
But oil! if you leave me — you leave me to die! 

F. S. O. 


AND FLOWERS OF POETRY. 


Ill 


ILLUSTRATION OF PLATE. 

Scarlet Geranium. — Scarlet Ipomcea. — Laurustinus. 

In preference, I attach myself to you, but shall die if neglected. 

I know that thou art true to me now; 

But I fear that, when far, far away, 

In the light of some beautiful brow, 

The flower of faith may decay ! 

I have seen thee look on a bright eye, love, 

And gaze as thou wouldst on a star; 

And I’ve murmured, with many a sigh, love, 
“How blessed the beautiful are!” 

Yet, if passion and truth, warm and deep, 

As ever in woman’s heart met, 

Have a spell, man’s affection to keep, 

I know thou wilt never forget ! 


F. S. O. 


112 THE POETRY OF FLOWERS 


I PARTAKE YOUR SENTIMENTS. 

GARDEN-DAISY. 

Within the garden’s cultured round 
It shares the sweet carnation’s bed. 

J. Montgomery. 

The daisy, like many other plants, undergoes a considerable 
change, when transplanted from its native field to the cultiva- 
ted parterre. To preserve them, however, in their altered state, 
it seems necessary to divide the roots and transplant them 
every year. They thrive best in a moist loamy soil, without 
any admixture of manure ; and continue in flower for a longer 
period if shaded from the heat of the mid-day sun. 

The garden daisy has been adopted to express reciprocity of 
feeling, in reference to an ancient custom in the days of chivalry. 

«JYhen the mistress of a knight permitted him to engrave this 
flower on his scarf, it was understood as a public avowal that 
she partook of his sentiments. Leyden has favoured us with 
some beautiful lines on the daisy, in which he alludes to this 
custom : — 

Star of the mead ! sweet daughter of the day, 

Whose opening flower invites the morning ray, 

From thy moist cheek, and bosom’s chilly fold, 

To kiss the tears of eve the dewdrops cold ! 

Sweet daisy, flower of love ! when birds are paired, 

’Tis sweet to see thee, with thy bosom bared, 

Smiling, in virgin innocence, serene, 

Thy pearly crown above thy vest of green. 

The lark, with sparkling eye, and rustling wing, 

Rejoins his widowed mate in early spring, 

And as she prunes his plumes of russet hue, 

Swears, on thy maiden-blossom, to be true. 

Oft have I watched thy closing buds at eve, 

Which for the parting sunbeams seemed to grieve, 

And, when gay morning gilt the dew-bright plain, 

Seen them unclasp their folded leaves again. 


AND FLOWERS OF POETRY.. 113 


Nor he who sung — “the daisy is so sweet” — 1 

More dearly loved thy pearly form to greet ; 

When on his scarf the knight the daisy bound, 

And dames at tourneys shone, with daisies crowned, 

And fays forsook the purer fields above, 

To hail the daisy, flower of faithful love. 

Did not our countryman, James Montgomery, illustrious in 
the annals of poetry, partake warmly of the sentiments of that 
learned Baptist missionary, Dr. Carey, when he composed those 
beautiful lines, entitled “ The Daisy in India,” and which we 
here present to the reader, as they must awaken a kindred 
feeling in every heart where sensibility is not entirely ex- 
tinguished ? Dr. Carey had expressed, in a letter to a botanical 
friend in England, the pleasure he felt on observing a daisy 
spring up, unexpectedly, in his garden at Serampore, where he 
was stationed on his important duty. It had been borne over 
the waters in some English earth in which other seeds were 
conveyed ; and now in another clime it opened its “ crimson- 
tipped flower” to the warm air of the East ; we can conceive* 
the welcome surprise with which the little flower was greeted ! 

Thrice welcome, little English flower ! 

The mother-country’s white and red, 

In rose or lily, till this hour, 

Never to me such beauty spread ; 

Transplanted from thine island- bed, 

A treasure in a grain of earth, 

Strange as a spirit from the dead, 

Thine embryo sprang to birth. 

Thrice welcome, little English flower ! 

Whose tribes beneath our natal skies 
Shut close their leaves while vapours lower; 

But when the sun’s gay beams arise, 

With unabashed but modest eyes 
Follow his motion to the west, 

Nor cease to gaze till daylight dies, 

Then fold themselves to rest. 


k2 


t 


114 


THE POETRY OF FLOWERS 


Thrice welcome, little English flower! 

To this resplendent hemisphere, 

Where Flora’s giant offspring tower 
In gorgeous liveries all the year; 

Thou, only thou, art little here, 

Like worth unfriended or unknown, 

Yet to my British heart more dear 
Than all the torrid zone. 

Thrice welcome, little English flower ! 

Of early scenes beloved by me, 

While happy in my father’s bower, 

Thou shalt the blithe memorial be, 

The fairy sports of infancy, 

Youth’s golden age, and manhogd’s prime, 
Home, country, kindred, friends — with thee — 
Are mine in this far clime. 

Thrice welcome, little English flower! 

I ’ll rear thee with a trembling hand ; 

Oh ! for the April sun and shower, 

The sweet May-dews of that fair land, 
Where daisies, thick as starlight, stand 
In every walk ! — that here might shoot 
Thy scions, and thy buds expand, 

A hundred from one root ! 

Thrice welcome, little English flower ! 

To me the pledge of hope unseen ; 

When sorrow would my soul o’erpowcr 
For joys that were , or might have been , 

I’ll call to mind, how — fresh and green — 

I saw thee waking from the dust ; 

Then turn to heaven, with brow sereno, 

And place in God my trust. 


AND FLOWERS OF POETRY. ll ,” 1 


I WILL ENLIGHTEN YOU. 

WAX MYRTLE. 

The green berries of the wax myrtle are boiled by the 
country people, and moulded into candles, which give a re- 
markably clear and brilliant light. 

Sweet, let us read our hearts together, 

By the pure, fragrant lamp of Love! 

’Twill steadily burn, in stormy weather, 

As now — for it was filled above. 

f. s. o. 


I TRUST IN THEE. 

PERUVIAN HELIOTROPE. 

This evergreen trailer is a native of Peru, and bears beautiful 
filac-coloured flowers ; and^|i the greenhouse, continues in bloom 
nearly the whole of the year. 

The Orientals say that the perfumes of the heliotrope elevate 
their souls toward heaven ; it is true that they exhilarate us, 
and produce a degree of intoxication. The sensation produced 
hy inhaling them, may, it is said, be renewed by imagination, 
even though years have passed away after the reality was ex- 
perienced. 

The Countess Eleanora, natural daughter of Christian IV., 
kino- of Denmark, who became so notorious by the misfortunes, 
crimes, and exile of Count Ulfeld, her husband, offers to us a 
striking proof of the power of perfumes on the memory. This 


116 


THE POETRY OF FLOWERS 


princess, at the age of thirteen, had become attached to a young 
man to whom she was subsequently affianced. This young man 
died in the castle where they were making preparations for the 
marriage. Eleanora, in despair, wished to take a long last look 
at the object of her love ; and, if alive, to bid a last adieu. 
She was conducted into the chamber where he had just ex- 
pired. The body was already placed on a bier, and covered 
with rosemary. The spectacfe made such a deep impression 
upon the affianced maiden, that, though she afterward exhibited 
courage equal to her misfortunes, she never could breathe the 
perfume of rosemary without falling into the most frightful 
convulsions. 

The celebrated Jussieu, while botanizing in the Cordilleras, 
suddenly inhaled the most exquisite perfumes. He expected to 
find some brilliantly-coloured flowers, but only perceived some 
pretty clumps of an agreeable green, bearing flowers of a pale 
blue colour. On approaching nearer, he observed that the 
flowers turned gently toward the sun, which they appeared to 
regard with reverential love. Struck with this peculiar dispo- 
sition, he gave the plant the name of heliotrope, which is de- 
rived from two Greek words, signifying “ sun,” and “ I turn.” 
The learned botanist, delighted with this charming acquisition, 
collected a quantity of the seeds, and sent them to the Jardin 
du Roi, at Paris, where it was first cultivated in Europe. The 
ladies collected it with enthusiasm — placed it in their richest 
vases — called it the flower of love — and received with indif- 
ference every bouquet in which their favourite flower was not 
to be found. 

An anonymous writer has made it emblematical of flattery, 
as it is said that when a cloud obscures the sky, it droops its 
head. We would rather suppose that, like the lover, whose 
heart is sad when absent from his mistress, so the heliotrope 
droops because it is deprived of the cheering rays of the sun 
that it seems to adjre. 


There is a flower whose modest eye 
Is turned with looks of light and love 


AND FLOWERS OF POETRY. 117 


Who breathes her softest, sweetest sigh, 

Whene’er the sun is bright above. 

Let clouds obscure, or darkness veil, 

Her fond idolatry is fled ; 

Her sighs no more their sweets exhale — 

The loving eye is cold and dead. 

Canst thou not trace a moral here, 

False flatterer of the prosperous hour? 

Let but an adverse cloud appear, 

And thou art faithless as the flower 1 

Should foes assail me, 

Or friendship fail me, 

I’ll ne’er bewail me, 

I trust in thee ! 

Wh> should I sorrow? 

Thou It smile to-morrow, 

And still I’ll borrow 

My light from thee! 

F. S. O. 


IMAGINATION. 

ALOE. 

The aloe is said to thrive best in the desert, and is only at- 
tached to the soil by a very slender fibre. Its taste is very 
sharp and bitter. This plant derives its support almost entire- 
ly from the air, and assumes very singular and fantastic shapes. 
Le Vaillant found many species very numerous in the deserts 
of Namaquoi? . ; some of them six feet long, which were thick 
and armed with long spines. From the centre of these a light 


118 THE POETRY OF FLOWERS 


twig shoots forth to the height of a tall tree all garnished with 
flowers. Others exalt themselves like the cactus, bristling 
with thorns. Others again are marbled and seem like serpents 
creeping upon the earth. 

Brydone saw the ancient city of Syracuse entirely covered by 
great aloes in flower ; their elegant branches giving to the 
promontory which bounded the coast, the appearance of an en- 
chanted forest. 

These magnificent and monstrous members of the vegetable 
kingdom are also found in barbarous Africa. There they grow 
upon the rocits in arid and sandy soil, in the midst of that burn- 
ing atmosphere in which scarce aught but tigers and lions can 
breathe alive. 


For rich Imagination’s jewelled wand, 

With living forms can fill the lonely hall ; 

With glorious bloom, enwreath the d« iert-sand, 

And crown again, with sculpture’s grace, the ruined .em- 
ple’s wall ! 

F. S. O. 


INTOXICATION 

VINE. 

The grateful juice of the vine has been given to cheer the 
heart of man, but alas! it is too often used as the excitement 
to unseemly revelry, where men degrade thtmselves to the 
condition of the brutes, : ver which they were created lords. 


AND FLOWERS OF POETRY. i\9 

But all the golden goblet has wrought, 

Is not of the evil kind ; 

It has helped the creature of mighty thought, 

And quickened the godlike mind. 

Eliza Cook. 


I WILL NOT TROUBLE YOU. 

A ROSELEAF. 

There was an academy at Amadan, whose statutes were 
couched in these terms: “ The academicians think much, write 
little, and talk less !” Dr. Zeb, celebrated all over the East, 
being informed of a vacancy in that academy, hastened to ob- 
tain it, but unfortunately arrived too late. The academy was 
in despair ; it had just granted to power that which belonged to 
merit alone. The president, not knowing how to express a re- 
fusal which reflected so much discredit on the assembly, com- 
manded a cup to be brought, which he so exactly filled with 
water, that one more drop would have caused it to overflow. 
The learned candidate understood by this emblem that there 
was no place in the academy for him. He was retiring in dis- 
appointment, when he perceived a roseleaf at his feet. At this 
sight hope revived ; he took the roseleaf and placed it so gently 
upon the water which filled the cup, that not a single drop was 
lost. At this ingenious feat every one clapped his hands, and 
the doctor was received by acclamation among the members of 
the silent academy. 

You say your heart is now so full 
Of trouble and of wo, 


lift) THE POETRY OF FLOWERS 


It wants but Love’s first trembling tear 
To make it overflow. 

Sweet girl! believe me, Love would bring 
Only a roseleaf there, 

Whose floating bloom would bless the tide, 
And calm the waves of care ! 

F. S. O. 


I WILL THINK OF IT. 

WHITE DAISY. 

In the bygone days of chivalry, when a lady wished to inti- 
mate to her lover tnat she was undecided whether she would 
accept his offer or not, she decorated her head with a frontlet 
of white daisies, which was understood to say : “ I will think 
of it.” 


“ I dare not yet your prayers requite !” 

Exclaimed a fearful beauty; 

“In Reason’s golden scales, sir knight, 

I ’ll weigh my love and duty.” 

Love drooped his wings in grief and shame; — 
The scales began to waver; — 

But then — a sigh , so heavy , came — 

It turned them in his r avour. 

F. S. O 


AND FLOWERS OF POETRY. 


ILLUSTRATION OF PLATE 

Balsam. — White Daisy. 

Be not impatient, I will think of it. 

Oh! bid me not so soon decide, 

On what, through life, to me, 

Or weal or wo my heart betide, 

A changeless fate must be! 

The gamester pauses ere he toss 
The dice, on which depends 
His worshipped gold — that glittering dross, 
Which with existence ends; — 

But I must stake a priceless wealth — 

Hope — happiness and love — 

My peace on earth — my young heart’s health — 
And more — my bliss above ! 

f. s. o. 


l 



t 122 


THE POETRY OF FLOWERS 


! IMMORTALITY. 

AMARANTH. 

I 

! The amaranth is one of the latest gifts of autumn, ai d when 
j dead its flowers retain their rich scarlet colour. The ancients 
j have associated it with supreme honours ; choosing it to adorn 
; the brows of their gods. Poets have sometimes mingled its 
bright hue with the dark and gloomy cypress, wishing to ex- 
press that their sorrows were combined with everlasting recol- 
lections. Homer tells us, that, at the funeral of Achilles, the 
Thessalians presented themselves wearing crowns of amaranth. 

Milton, in his gorgeous description of the court of heaven, 
mentions the amaranth as being inwoven in the diadem of 
angels. 

Love and friendship are adorned with amaranth. In the 
garland of Julie, we find the four following lines : 

Je suis la fleur d’amour qu’amarante on appelle, 

Et quiviens de Julie, adorer les beaux yeux. 

Roses, retirez-vous ; jai le nom d’immortelle, 

Ii n’appartient qu’a moi de couronner les dieux. 

Christina, queen of Sweden, who wished to immortalize her- 
self by renouncing the throne to cultivate letters and philoso- 
phy, instituted the order of “ knights of the amaranth.” The 
decoration of that order isamedaljof gold, enriched with a 
flower of the amaranth in enamel, with this motto : “ Dolce 
nella memoria.” 

In the floral games at Toulouse, the prize for the best lyrical 
verses is a golden amaranth. 


Fling, fling the wreath of Bacchus down ! 

For tney who wear its vine-leaves here, 
Forego the glorious amaranth-crown 
Of angels in a .1 flier .sphere 

L- 


F. S. O. 


AND FLOWERS OF POETRY. 123 


IMPATIENCE. 

BALSAM. 

This plant, which is one of the most beautiful and delicate 
of popular annuals, is a native of East India, and forms a 
showy cone of carnation-like flowers, finely variegated. It pos- 
sesses the peculiar property of retaining, during the hottest 
months of summer, all its freshness and beauty, while many 
other plants are withered before they have flowered. It has 
been named Nolitangere and Impatiens, from the curious fact 
that, when the seeds are ripe, they are thrown with considera- 
ble force out of the capsules on their being slightly touched; 
on this account it has been made the emblem of impatience. 
The Turks use it to represent ardent love. 

The maid, whose manners are retired, 

Who patient waits to be admired — 

Though overlooked, perhrps, awhile, 

Her modest worth — her modest smile — 

Oh! she will find, or soon or late, 

A noble, fond, and faithful mate. 

Paulding. 


INCONSTANCY. 

EVENING PRIMROSE. 

This oeautiful flower is a general favourite with our poets, 
who give it a very different character to that we have assigned 



124 THE POETRY OF FLOWERS 


to it in floral language. We presume that it has been made 
the emblem of inconstancy on account of the transient duration 
of its flowers. It opens between six and seven o’clock in the 
evening. 

When once the sun sinks in the west, 

And dewdrops pearl the Evening’s breast; 

Almost as pale as moonbeams are, 

Or its companionable star, 

The evening primrose opes anew 
Its delicate blossoms to the dew; 

And, hermit-like, shunning the light, 

Wastes its fair bloom upon the Night, 

Who, blindfold to its fond caresses, 

Knows not the beauty lie possesses. 

Thus it blooms on while Night is by ; 

When Day looks out with open eye, 

’Bashed at the gaze it cannot shun, 

It faints, and v/ithers, and is gone. 

Clare’s Rural Muse. 


INDIFFERENCE. 

CANDT-TUFT. 

The iberis continues in brnssom nearly tne whole year, ever 
presenting to us its bright green foliage, and its scentless blos- 
soms white as snow. The hrst specimen of this plant was 
brought from Candia, whence its English name candy-tuft. 
The plant is well adapted to enliven the sombre appearance of 


AND FLOWERS OF POETRY. 125 

our evergreen plantations during the winter months, if not pla- 
ced near the Laurustinus, which requires no aid of this kind ; 
for that beautiful shrub, like the iberis, seems awake while the 
rest of vegetable nature sleeps. 

The warmth of our summers has very little apparent effect 
upon the candy-tuft ; the gardener is frequently obliged to tear 
away the flowery veil which persists in concealing its seed. 

It braves all the inclemencies of winter ; ani if we are re- 
minded by its brilliancy of that of other flowers, we are less 
consoled for their absence, than led to regret their graces and 
sweet perfumes. 

It is doubtless by reason of its unvarying appearance that 
the Eastern ladies, who first ascribed the power of language tc 
flowers, have made the iberis the emblem of indifference. 


Better the tie at once he broken, 

At once our last farewell be spoken, 

Than watch him, one by one, destroy 
The glowing buds of hope and joy — 

Than thus to see them, day by day, 

Beneath his coldness fade away ! 

F. S. O. 


INFIDELITY. 

YELLOW ROSE. 

* s well known that yellow is the colour of infidelity. 
The yellow rose also seems to appertain to the unfaithful in 
love or friendship. Water injures it; the sun scorches it; and 
this scentless flower, which profits neither by attention nor lib- 


126 


THE POETRY OF FLOWERS 


erty, seems only to prosper under restraint. When we wish to 
see them in their full brilliancy, it is necessary to incline the 
buds toward the earth, and keep them in that position by force. 


But if for me thou dost forsake 
Some other maid, and rudely break 
Her worshipped image from its base, 

To give to me the ruined place; 

Then fare thee weil — I ’d rather make 
My bower upon some icy lake, 

When thawing suns begin to shine, 

Than trust to love so false as thine! 

Moore. 


INDISCRETION. 

ALMOND-TREE. 

Like to an almond-tree, mounted high 
On top of green Selinis, all alone, 

With blossoms brave bedecked daintily; 

Whose tender locks do tremble every one, 

At every little breath that under heaven is blown. 

Faery Queene. 

% 

Emblem of indiscretion, the almond-tree is the first to answer 
to the call of spring. Nothing is more lovely and fresh in its 
appearance than this beautiful tree, when it appears covered 
with flowers. The later frosts not unfrequently destroy the too 
precocious germes of its fruits; but it is remarkable that the 
beauty of its flowers, far from being injured, is increased in 


AND FLOWERS OF POETRY. 


127 


brilliancy. An avenue of almond-trees, all white in the even- 
ing, struck with the frost in the night, will be of a rose-colour 
the following morning, and retain this new attire for more than 
a month, the flowers never falling until the tree is covered with 
verdure. 

The early appearance of the almond-tree seems formerly to 
have afforded an omen to the agriculturist. Dryden mentions 
ft as such : — 

Mark well the flowering almonds in the wood : 

If od’rous Jblooms the bearing branches load, 

The glebe will answer to the sylvan reign ; 

Great heats will follow, and large crops of grain. ? 

Fiction gives us an affecting account of the origin of the al- 
mond-tree; it relates, that Demophoon, the son of Theseus and 
Phaedra, when returning from the siege of Troy, was cast by a 
tempest on the coasts of Thrace, where the beautiful Phyllis 
then reigned. The young queen welcomed the prince, and be- 
coming enamoured of him, at length married him. Demo- 
phoon was recalled to Athens by the death of his father; but 
promised to return to his beloved Phyllis at the expiration of a 
month, and fixed the day. The tender Phyllis counted every 
minute during his absence, until the longed-for period arrived. 
Phyllis ran to the shore nine times; but, having lost all hope, 
she died of grief, and was changed into an almond-tree. Dem- 
ophoon returned three days afterward in despair ; he offered a 
sacrifice on the seashore to appease the manes of his beloved. 
She appeared sensible of his repentance and his return, for the 
almond-tree, which enclosed her in its bark, blossomed instan- 
taneously ; proving by this last effort that death had wrought 
no change in her affections. 

Oh! lovely still! yet lost as lovely — thou 
Dost veil tlfe dazzling fairness of thy brow, 

And droop thy lids o’er blue and beauteous eyes, 
Where, all too late, the tears of shame arise ! 

f. s. o. 

i 


128 THE POETRY OF FLOWERS 


INGRATITUDE. 

BUI TER CUPS . 

This plant contains many virulent qualities, which are said 
to affect cattle, especially sheep, and particularly ihe root, which 
has the property of inflaming and blistering the skin. 

Clare, the Northamptonshire poet, alludes to its ungrateful 
qualities in some lines on the “ Eternity of Nature.” Detailing 
his morning’s walk, he says : — 

I wander out and rhyme; 

What hour the dewy morning’s infancy 
Hangs on each blade of grass and every tree. 

And sprents the red thighs of the humble bee, 

Who ’gins betimes unwearied minstrelsey ; 

Who breakfasts, dines, and most divinely sups, 

With every flower save golden buttercups — 

On whose proud bosoms he will never go, 

But passes by with scarcely u How do ye do V* 

Since, in their showy, shining, gaudy cells, 

Haply the summer’s honey never dwells. 


INNOCENCE. 

DAISY. 

The English name of daisy is derived from a Saxon word, 
meaning day’s eye, in which way Ben Jonson writes it ; and 
Chaucer calls it the “eie of the daie.” W p presume that it is 
called day’s eye, from the nature of its blossom, which opens 
at daybreak, and closes at sunset : 

The little daizie, that at evening closes. 

Spenser. 


129 


AND FLOWERS OF POETRY. 


The following address to the daisy is from Wordsworth, and 
we think that it will excite in all minds agreeable reminiscences 
of days of childhood: — 

In youth, from rock to rock I went, 

From hill to hill in discontent, 

Of pleasure high and turbulent, 

Most pleased when most uneasy; 

But now my own delights I make — 

My thirst at every rill can slake, 

And gladly Nature’s love partake 
Of thee, sweet daisy ! 

When Winter decks his few gray hairs, 

Thee in the scanty wreath he wears ; 

Spring parts the clouds with softest airs, 

That she may sun thee ; 

Whole summer-fields are thine by right, 

And Autumn, melancholy wight ! 

Doth in thy crimson head delight, 

When rains are on thee 1 

In shoals and bands, a morrice train, 

Thou greetest the traveller in the lane ; 

If welcomed once thou comest again ; 

Thou art not daunted; 

Nor carest if thou be set at nought; 

And oft alone, in nooks remote, 

We meet thee, like a pleasant thought, 

When such are wanted. 

The violets in their secret mews, 

The flowers the wanton zephyrs choose; 

Proud be the rose, with rains and dews 
Her head impearling; 

Thou livest with less ambitious name, 

Yet hast not gone without thy fame ; 

Thou art, indeed, by many a claim, 

The poet’s darling. 

If to a rock from rains he fly, 

Or some bright day of April’s sky, 

Imprisoned by hot sunshine lie 
Near the green holly ; 


130 THE POETRY OF FLOWERS ' 


And wearily at length should fare ; 

He need but look about, and there 
Thou art ! — a friend at hand, to scare 
His melancholy. 

A hundred times, by rock or bower, 

Ere thus I have lain couched an hour, 
Have I derived from thy sweet power 
Some apprehension; 

Some steady love ; some brief delight ; 
Some memory that had taken flight ; 

Some charm of fancy, wrong or right; 

Or stray invention. 

If stately passions in me bum, 

And one chance look to thee should turn, 
I drink out of an humble urn 
A lowlier pleasure ; 

The homely sympathy that heeds 
The common life our nature breeds 
A wisdom fitted to the needs 
Of hearts at leisure. 

When, smitten by the morning ray, 

I see. thee rise, alert and gay, 

Then, cheerful flower! my spixits play 
With kindred gladness ; 

And when, at dusk, by dews oppressed 
Thou sinkst, the image of thy rest 
Hath often eased my pensive breast 
Of careful sadness. 

And all day long I number yet, 

All seasons through, another debt, 

Which I, wherever thou art met, 

To thee am owing; 

An instinct call it, a blind sense, 

A happy genial influence, 

Coming, one knows not how, or whence, 
Nor whither going. 

Child of the year ! that round dost run 
Thy course, bold lover of the sun, 

And cheerful, when the day’s begun, 

As morning leveret — 


AND FLOWERS OF POETRY. 131 


Thy long-lost praise thou shalt regain, 

Dear shalt thou be to future men, 

As in old time; — thou, not in v ain, 

Art Nature’s favourite. 

In Yorkshire, this plant is called dog-daisy; and in Scotland 
gowan, a name which in that country is also applied to the dan- 
delion, hawkweed, &c. 

The opening gowan, wet with dew. 

We find it recorded in Milton’s Comus, that 

By dimpled brook and fountain brim, 

The wood-nymphs, decked with daisies trim, 

Their merry wakes and pastimes keep. 

“Malvina, leaning o’erFingal’s tomb, mourns for the valiant ; 
Oscar, and his son who died before he had seen the light. 

“ The virgins of Morven, to calm her grief, walk often around 
her, celebrating, by their songs, the death of the brave and the 
newborn. 

“ ‘ The hero is fallen,’ say they ; 1 he is fallen ! and the sound 
of his arms echoes over the plain ; disease, which takes away 
courage — age, which dishonours heroes — can no longer touch 
him ; he is fallen ! and the sound of his arms echoes over the 
plain ! 

‘“Received into the heavenly palace inhabited by his ances- 
tors, he drinks with them the cup of immortality. Oh ! 
daughter of Oscar, dry thy tears of grief ; the hero is fallen ! 
he is fallen ! and the sound of his arms echoes over the plain !’ 

« Then, in a softer voice, they said again to her : ‘ The child 
who has not seen the light, has not known the bitterness of 
life; its young soul, borne on glittering wings, arrives with the 
diligent Aurora in the palace of day. The souls of children, 
who have, like it, broken the chains of life without sorrow, 
reclining on golden clouds, present themselves, and open to it 
the mysterious portals of Flora’s cabinet. There this innocent 


132 THE POETRY OF FLOWERS 


troop, ignorant of evil, are for ever occupied in enclosing, in im- 
perceptible seeds, the flowers that blow in each spring ; every 
morn they scatter these seeds upon the earth with the tears of 
Aurora ; millions of delicate hands enclose the rose in its bud, 
the grain of wheat in its folds the vast branches of the oak in 
a single acorn, and, sometimes, an entire forest in an invisible l 
seed. 

“‘We have seen, oh, Malvina ! we have seen the infant you 
regret, reclining on a light mist ; it approached us, and has 
shed on our fields a harvest of new flowers. Look, oh, Malvi- 
na ! among these flowers we distinguish one with a golden disk, 
surrounded by silver leaves ; a sweet tinge of crimson adorns 
its delicate rays; waved by a gentle wind, we might call it a 
little infant playing in a green meadow. Dry thy tears, oh, 
Malvina! the hero is dead^ covered with his arms; and the 
flower of thy bosom has given a new flower to the hills of 
Cromla.’ 

“ The sweetness of these songs relieved Malvina’s grief; she 
took her golden harp, and repeated the hymn of the newborn. 

“ Since that day the daughters of Morven have consecrated 
the daisy to infancy ; ‘ it is,’ said they, ‘ the flower of innocence, 
the flower of the newborn.’ ” 

That old favourite — the daisy — born 
By millions in the balmy, vernal mom — 

The child’s own flower. 

Carrington. 

Trampled under foot, 

The daisy lives, and strikes its little root 
Into the lap of time; centuries may come, 

And pass away into the silent tomb, «. 

And still the child, hid in the womb of tjme, 

Shall smile and pluck them, when this simple rhyme 


AND FLOWERS OF POETRY. 133 


Shall be forgotten, like a churchyard stone, 

Or lingering lie unnoticed and alone, 

When eighteen hundred years, our common date, 
Grow many thousands in their marching state, 

Ay, still the child, with pleasure in his eye, 

Shall cry — the daisy! — a familiar cry — 

And run to pluck it, in the selfsame state 
As when Time found it in his infant date ; 

And, like a child himself, when all was new, 
Might smile with wonder, and take notice too; 

Its little golden bosom frilled with snow, 

Might win e’en Eve to stoop adown, and show 
Her partner, Adam, in the silky grass, 

The little gem, that smiled where pleasure was, 
And loving Eve, from Eden followed ill, 

And bloomed with sorrow, and lives smiling still; 
As once in Eden, under heaven’s breath, 

So new on earth, and on the lap of death, 

It smiles for ever. 

Clare. 


INQUIETUDE. 


MARIGOLD. 


The marygold that goes to bed with the sun, 
And with him rises weeping. 


Anon. 


Madam Lebrun, in one of her charming pictures, has rep- 
resented grief as a young man pale and languishing; his 


M 


134 THE POETRY OF FLOWERS 


head appears to be bowed down by the weight of a garland of 
marygolds. 

The marygold continues in flower the whole of the year, 
hence its scientific name calendula. 3ts flowers open at nine 
o’clock in the morning, and close again at three o’clock in the 
afternoon. Like the heliotrope, it always turns toward the 
sun, following his course from east to west. 

During the months of July and August, the marygold emits 
small luminous sparks during the night. This quality it pos- 
sesses in common with the nasturtium and many other flowers 
of the same colour. 

The mournful signification of the marygold can be modified 
in various ways. United with roses it is the emblem of the 
sweeter pains of love ; alone, it expresses inquietude, or ennui. 
Woven with other flowers, it represents the inconstant chain 
of life, ever good and evil interwoven. In the East, a bouquet 
of marygold and poppies expresses this thought: “I will allay 
your pains.” 

Margaret of Orleans, maternal ancestor of Henry IV., had 
for her device a marygold turning toward the sun, with these 
words : “ Je ne veux suivre que lui seul .” That virtuous prin- 
cess wished to express by this device that all her thoughts 
and all her affections turned toward Heaven, as the marygold 
does to the sun. 


Though born in the desert, and doomed by my birth, 
To pain and affliction — to darkness and dearth — 

On thee let my spirit rely — 

Like some rude dial, that, fixed on earth, 

Still looks for its light from the sky! 

Moore. 


AND FLOWERS OF POETRY. 


135 


INSPIRATION. 

ANGELICA. 

This plant is named angelica in allusion to its agreeable 
smell and medicinal qualities. It has winged leaves divided 
into large segments; its stalks are hollow and jointed; the 
flowers grow in an umbel upon the tops of the stalks, and con- 
sist of five leaves, succeeded by two large channelled seeds. 
Archangelica is sometimes cultivated in gardens for its leaf- 
stalks, to be blanched and eaten as celery, or candied with su- 
gar. In Lapland, where it is also found, it is used to crown 
poets, who fancy themselves inspired by its agreeable odour. 


The muse of Inspiration plays 
O’er every scene ; she walks the forest-maze, 

And climbs the mountain; every blooming spot 
Burns with her step, yet man regards it not! 

Moore. 


IRONY. 

SARDONY. 

Sardony has wme resemblance to parsley; it contains a 
poison which is said to contract the mouth in so peculiar a 
manner, that the individual affected seems to laugh in expiring. 
This horrible laugh has been named, Risis Sardonicus, or Sar- 
donic laughter. It is that which we see playing on the lips of 
Satire, and on those of cold Irony. 


136 THE POETRY OF FLOWERS 

There was a lurking devil in his sneer. 

Byron. 

When all around, with heartless mirth, 

At deeds of virtuous daring rail; 

Or coldly sneer at angel-worth, 

Because its schemes of goodness fail; 

One brow with generous anger glows, 

One heart a manlier verdict sends, 

One fearless voice unfaltering flows, 

In warm defence of absent friends! 

F. S. O. 


JOY. 

WOOD-SORREL. 

The wood-sorrel, vulgarly called “ cuckoo’s bread,” flowers 
very freely about Easter. This pretty little plant shuts its 
leaves, closes its corollas, and the flowers hang pendent and 
drooping from the stems. They seem to yield themselves to 
sleep ; but at the first dawn of day we may say that they are 
filled with joy, for they throw back their leaves, and expand 
their flowers ; and we do'abt not it is on this account that peas- 
ants have said that they sing the praises of their Creator. 


AND FLOWERS OF POETRY. 137 


THE FLOWER PLAT. 

How soon a bright and happy child 
Will catch our playful tone, 

And, glad to have a frolic wild, 

Match our mirth with her own! 

1 said to Anna once — “Good night 
My precious Mignionette !” 

And she replied, with quick delight — 

“Good night, my Violet!” 

I tried again — “Good night, my Pink, 

My Jessamine, my Laurel!” 

She pressed her lip — “I cannot think — 

Oh, yes ! good night, my Sorrel !” 

Once more I spoke in pleased surprise — 

“Good night, my little Foxglove!” 

She answered me with laughing eyes — 

“ Good night, my piece of Box, love !” 

I thought to tire her baby-brain; 

But no! she’d not give up. 

“Good night, my Rose!”— she laughed again — 
“ Good night, my Buttercup !” 

4 

But little versed in Flora’s lore, 

Is Anna; — yet an hour, 

She racked her infant mind for more, 

And gave me flower for flower’ 


m2 


i33 THE POETRY OF FLOWERS 

Weary at last — she sighed out, while 
Her brow began to wrinkle, 

With desperate tone and sleepy smile 
“Good night, my Periwinkle!” 

. F. S O. 


JUSTICE SHALL BE DONE YOU. 

SWEET-SCENTED TUSSILAGE, OR COLTSFOOT. 

Genius, hid under a modest appearance, strikes not the eyes 
of’ the vulgar. But if the glance of an enlightened judge chan- 
ces to observe it, its strength is immediately revealed, and it 
receives the admiration of those whose stupid indifference had 
not observed it. A young Dutch miller, having a taste for 
painting, amused himself, in his leisure hours, by representing 
the landscapes amid which he lived. The mill, the cattle of 
his master, the beautiful verdure, clouds, smoke, light and 
shade, were all portrayed with an exquisite truth. As soon as 
a picture was finished, he took it to a colour-dealer, who gave 
him its value in materials to produce another. One feast-day, 
the innkeeper of the place, wishing to ornament the hall where 
he received his guests, bought two of these pictures. A cele- 
brated painter stopped at his inn, and, admiring the truth of the 
landscapes, offered and gave a hundred florins for that which 
had not cost a crown, and promised, at the same time, to take 
all the artist could produce. Thus the reputation of the painter 
was established, and his fortune made. As’ wise as happy, he 
never forgot his dear mill ; we find the representation of it in 
all his pictures, which are so many masterpieces. Who would 
believe that plants have the same fate as men, and that they 
require a patron to appreciate them ? 


r 

i 


AND FLO AVERS OF POETRY. 


139 


Coltsfoot, notwithstanding its sweet smell, had remained a 
long time unknown at the foot of Mount Pila, where no doubt 
it would still have bloomed in obscurity, if a learned botanist, 
M. Villau de Grenoble, had not appreciated its beneficent qual- 
ities. This perfumed plant appears at a season when all others 
have disappeared. As the great artist eulogized the. poor 
painter, so did M. Villau the humble flower; he gave it a dis- 
tinguished rank in his works ; and, since then, the tussilage has 
been cultivated with care, and perfumes our brilliant saloons. 


They shall own thee the sweetest and fairest of flowers, 
That smile in our woodlands, or blush in our bowers! 
They shall own thee a lovelier gem of delight, 

Than they that illumine the veil of Midnight ! 

f. s. o. 


KEEP YOUR PROMISES. 

PLUM-TREE. 

Every year the plum-tree is covered with an immense quan- 
tity of flowers, but unless trained and pruned by the hand of an 
able gardener of all its superfluous wood, it will only yield fruit 
once in three years. 

Come! thou hast not forgotten 
Thy pledge and promise quite, 

With many blushes murmured 
Beneath the evening light; — 


140 THE POETRY OF FLOWERS 

Come, the young violets crowd my door, 

Thy earliest look to win, 

And at my silent window-sill 
The jessamine peeps in. 

All day the red-bird warbles 
Upon the mulberry near, 

And the night-sparrow trills her song 
All night with none to hear. 

Bryant. 


LET ME GO! 

* I 

BUTTER FLY- WEED. 

The asclepias tuberosa or butterfly- weed is found in abun- I 
dance in the United States. Its flowers are of a beautifully J 
bright orange colour. The down or silk of the seeds, in this ) 
and other species, furnishes an admirable mechanism for their I 
dissemination. When the seeds are liberated by the bursting ) 
of the follicle which contains them, the silken fibres immedi- j 
ately expand so as to form a sort of globe of branching and j 
highly attenuated rays, with the seed suspended at its centre. 
In this state they are elevated by the wind to an indefinite ] 
height, and carried forward with a voyage like that of a bal- 
loon, until some obstacle intercepts their flight, or rain precipi- 
tates them to the ground. 

Nay! our«» is not the morning 

Of love, when all is fresh and sweet, 

I often catch you yawning, 

You know, where’er we meet. 


AND FLOWERS OF POETRY. 141 

For me — I must confess, love, 

I ’m growing rather bored — and so 
Take back this golden tress, love, 

And let me — let me — go! 

f. s. o. 


LIFE. 

LUCERN. 

Lucern occupies the same ground for a long period, but 
when it forsakes it, it is for ever. On this account it has been 
made the emblem of life. 

Life is a fair, nay charming form, 

Of nameless grace and tempting sweets; 

But disappointment is the worm, 

That cankers every bud she meets. 

Neele. 

A blossom full of promise is life’s joy, 

That never comes to fruit; Hope, for a time, 

Suns the young floweret in its gladsome light, 

And it looks flourishing; a little while — 

’T is past, we know not whither, but ’t is gone ! 

Miss Landon. 

Life is a waste of wearisome hours, 

Which seldom the rose of enjoyment adorns; 

And the heart that is soonest awake to the flowers, 

Is always the first to be touched by the thorns. 

Moore. 



142 THE POETRY OF FLOWERS 


LOVE 

MYRTLE. 

See, rooted in the earth, her kindly bed, 

The unendangered myrtle, decked with flowers, 

Before the threshold stands to welcome us ! 

Wordsworth. 

The oak has ever been consecrated to Jupiter — the laurel to 
Apollo — the olive to Minerva — and the myrtle to Venus. 
Among the ancients the myrtle was a great favourite, for its 
elegance, and its sweet and glossy evergreen foliage. Its per- 
fumed and delicate flowers seem destined to adorn the fair 
forehead of love, and are said to have been made the emblem 
of love, and dedicated to beauty, when Venus first sprang from 
the sea. We are informed by mythological writers that when 
the fair goddess first appeared upon the waves, she was prece- 
ded by the Hours, with a scarf of a thousand colours and a gar- 
land of myrtle. 

At Rome, the first temple dedicated to Venus was surround- 
ed by groves of myrtle; and after the victory that goddess 
achieved over Pallas and Juno, she was crowned with myrtle 
by Cupids. Surprised one day, on going out of a bath, by a 
troop of satyrs, she took refuge behind a myrtle-bush ; she also 
avenged herself with myrtle branches on the audacious Psyche, 
who had dared to compare her own transitory graces to those 
of an immortal beauty. 

Although triumphs are no longer celebrated in the Roman 
capitol, the Italian ladies have preserved a very lively passion 
for this lovely shrub ; preferring its odour 10 that of the most 
precious essences, and throwing into their baths water distilled 
from its leaves, being persuaded that the tree of Venus is fa- 
vourable to beauty. If the ancients had that idea — if the tree 
so consecrated to Venus were to them the tree of love — it was 
from the true analogy between its power and that of love , for 
wherever the myrtle grows it spreads itself around, to the ex- 

! 


AND FLOWERS OF POETRY. 


143 


elusion of *all other- shrubs. So love, once master of a heart, 
leaves no room 4pr any other sentiment. Scott has borne his 
testimony to the'universality of love : — 

In peace, Love tunes the shepherd’s reed ; 

In war, he mounts the warrior’s steed ; 

In/halls, in gay attire is seen; 

In\hamlets, dances on the green: 

Love rules the court, the camp, the grove, 

And men below, and saints above ; 

For love is heaven, and heaven is love. 


He was among them all — 

The bright, the young, the fair; 

But on his brow they marked a shade, 

A still deep shadow that betrayed, 

E’en when he bowed at beauty’s thrall, 
His spirit was not there; 

But sought a dearer light afar — 

A gentler and a purer star. 

He was among them all — 

The bright, the young, the fair; 

When softest eyes did softly glance, 

And fairy feet were in the dance, 

Dreaming, amid their music fall, 

Of one who was not there; 

Sighing to greet that light afar — 

The gentler and the purer star. 

He was among them all — 

The bright, the young, the fair; 

When music stolen from heaven above 
Was gently breathed by lips of love, 


144 


THE POETRY OF FLOWERS 


He heeded not the call; 

But dreamed of notes more rich and rare, 
And worshipped still that light afar — 

The gentler and the purer star. 

He was among them all — 

The bright, the young, the fair; 

But ruby lips were vainly wreathed, 

And timid sighs as vainly breathed, 

For him in pleasure’s hall; 

He might not greet her there — 

The one he loved, the light afar — 

The gentler and the purer star. 

He was among them all — 

The bright, the young, the fair; 

When eyes looked soft in the moon’s soft light, 
And tones grew low like the breath of night, 
Or music’s dying fall, 

Still, still, unconquered there. 

His heart was hers who dwelt afar — 

The gentler and the purer star. 

He was among them all — 

The bright, the young, the fair — 

Only to dream of hours more sweet, 

Wishing that he were at her feet, 

Not midst the festive hall; 

To see again her golden hair, 

Bound up for him — nis light afar — 

The gentler and the purer star. 


Lucy Hooper. 


AND FLOWERS OF POETRY. 


ILLUSTRATION OF PLATE. 

Myrtle. — Sweetbrier. — Lucern. 

Love is the poetry of life. 

Young Love is knocking at your heart; — 
Open the lattice ! let him in ! 

And blush not thus — nor sigh and start! 
Love is not Shame, nor Grief, nor Sin. 

/ 

Love is an angel in disguise ! 

Sent, with a band of brilliant flowers, 

To bind the soul that, exiled, sighs, 

And lead it home to Eden’s bowers 

Yield to the chain that heavenward woos; 

Go! linked with Love, in bonds so sweet 
His wings will shower their rainbow hues, 
His wreath, its fragrance round your feet. 


F. S. 


146 THE POETRY OF FLOWERS 


LOVE IN A SNOW-WREATH. 

MEZEREON. 

The rose-coloured blossoms of this much-admired plant are 
often found smiling and blushing in the midst of snows in gay 
defiance of winter’s farewell frown. 


One wintry mom an icicle lay, 

Chained, in the sunlight calm and clear, 

To a graceful, delicate, frost-bound spray, 

Like a diamond-drop in Beauty’s ear. 

My eye was caught by a strange, rich gleam, 
That fitfully played in the pendant pure, 

And I thought I saw two bright wings beam 
Through the luminous ice; but I was not sure. 

I stole to the place, and there — behold! 

A fairy child in the icicle’s heart ! 

Tossing his tresses of curled gold, 

Shaking his tiny, suntipped dart ; — 

Fluttering, striving his form to free, 

Like a rainbow at play in a prison, he turned ; 

Laughing and frowning, as anger or glee, 

By turns, in his bosom, smiled or burned. 

I knew by his pinions of changeable light, 

I knew by his quiver and cherub-bloom, 

’T was the lovely and petulant cyprian sprite — 
The boy-god — caught in that living tomb. 


AND FLOWERS OF POETRY. 


147 


But his sigh so soft, and his smile so warm, 

Were melting the icicle fast away; 

And lo ! as I gazed, he freed his form, 

And plumed his wings on the frost-bound spray. 

“ And how came you in it, sweet Love ?” I cried ; 
He bit his lips as he answered low — 

“ I have been a fool for my pains ; — I tried 
Young Julia’s heart, with a tale of wo: 

“She pitied — received — and hushed me to sleep 
On her tranquil breast, that knew no sin; 

And o’er my form soft tears did weep, 

But oh ! so cold, they froze me in ! 

“I woke to find myself prisoned here, 

In the palace of ice her tears had wrought; 

And if ever I trust to a woman’s tear 

Again, may I be — in my own net, caught!” 

He sighed — he shivered — shook off the last 
Chill drops that hung on his plumes of light; 

One rueful look upon me he cast, 

Then rapidly rose and was lost to sight. 

F. S 0. 


j 148 THE POETRY OF FLOWERS 
| 

LIVELY AND PURE AFFECTION. 

PINK. 

The primitive pink is simple red or white, and perfumed. W e 
occasionally observe where 

the wild pink crowns the garden wall, 

And with the flowers are intermingled stones 
Sparry and bright, rough scattering of the hills. 

Wordsworth. 

Cultivation has doubled the petals of this favourite flower, 
and procured for it an infinite variety of colouring, so that it is 
painted with a thousand shades, from the delicate rose-colour 
to the perfect white : and from a deep red to a brilliant scarlet. 
In some varieties we observe opposite colours placed together 
on the same flower : the pure white is tipped with crimson, 
and the rose-coloured is streaked with lively and brilliant red. 

, We also see these beautiful flowers marbled, speckled, and, at 
other times, bisected in such a manner that the deceived eye 
leads us to imagine that the same cup contains a purple flower, 
and one of palest alabaster. Nearly as varied in form as in ’ 
colour, the pink always preserves its delicious perfumes, and 
continually labours to shed its foreign costume, and renew its 
native attire. For though the hand of the gardener can double 
and triple, and variegate its dress, it cannot render its acquired 
qualities permanent. Thus nature has deposited in our hearts 
the germes of the most excellent sentiments. Art and society 
jltivate and develop these, embellishing, enfeebling, or exalt- 
ing them. A variety of causes uniting, are able to render their 
effects inconstant and changeable ; but, in spite of the caprices, 
errors, and incomprehensible sports of the human heart, nature 
always brings back affection to its primitive simplicity. 

There is an anecdote connected with the pink, which shows 
how far the mind way be led away and debased by the arts of 
flattery : — 


AND FLOWERS OF POETRY. 149 J 

j 

“ The young duke of Burgundy, grandson of Louis the Fif- 
teenth, being fond of cultivating these flowers, a flatterer per- 
suaded him, by substituting other pots of pinks for those which 
the prince had reared, that the pinks which he planted came 
up and flourished in one night. Thus persuaded, the youthful 
prince believed that Nature obeyed his will. One night, not 
being able to sleep, he expressed a wish to get up, but was told 
that it was then the middle of the night : ‘Well,’ replied he, 

‘ I will have it be day.’ ” 

Oh, woman’s love ! at times it may 
Seem cold or clouded, but it burns 
With true, undeviating ray, 

And never from its idol turns. 

Its wmshine is a smile — a frown 
The heavy cloud that weighs it down: 

A tear its weapon is — beware 
Of woman’s tears — there’s danger there! — 

Its sweetest place on which to rest, 

A constant and confiding breast : 

Its life to meet — its death to part — 

Its sepulchre, a broken heart. 

Crot,y. 


LUXURY. 

HORSE-CHESTNUT. 

This magnificent tree was originally brought from India, 
and has been naturalized in Europe for more than two centu- 
ries, but yet we do not see it raise its gorgeous head among our 


150 


THE POETRY OF FLOWERS 


forest-trees. It is well suited to be an ornament in parks ; to 
adorn the castles of nobility, and to shade the residence of 
kings. It luxuriates at the Tuileries, where it rises around the 
great pond in masses of incomparable beauty. At the Lux- 
embourg it spreads its branches in accordant pomp and splen- 
dour ; — 

There avenues of chestnuts high 

With vaulted roofs conceal the sky. 

In the beginningof spring, one rainy day is sufficient to cause 
this beautiful tree to cover itself with verdure. If it be plant- 
ed alone, nothing surpasses the elegance of its pyramidal form, 
the beauty of its foliage, or the richness of its flowers, which 
sometimes make it appear as an immense lustre or chandelier, 
all covered with pearls. Fond of ostentation and richness, it 
covers with flowers the grass which it overshadows, and yields 
to the idler a most delightful shade. To the poor man it is of 
little service, supplying him with nothing more than a light 
and porous timber, and a bitter fruit. Naturalists and ph) si- 
cians have attributed to this child of Asia a thousand good 
qui i ties which it does not possess. 


Sunny-haired Eloise ! wealth is thme own ; 

Ricn is thy silken robe — bright is thy zone; 
Diamonds, like star-drops, thy silken braids deck ; 
Pearls waste their snow on thy lovelier neck; 
IiUxury softens thy pillow for sleep — 

Angels watch over it ! — Why do you weep ? 


f. s. o 


AND FLOWERS OF POETRY. 151 


MAJESTY. 

CROWN IMPERIAL. 

On this family of plants modern botanists have bestowed the 
name of Fritillaria , of which this, from its commanding de- 
portment and brilliant colours, is considered the sovereign. 

The lily’s height bespoke command, 

A fair imperial flower; 

She seemed designed for Flora’s hand, 

The sceptre of her power. 

We have therefore elevated this distinguished member of Flo- 
ra’s kingdom to be the emblem of majesty, and the representa- 
tive of power in our floral sentiments. 

Art thou not noble ? then thy brow belies thee ! 

Thou art! I read it in thy proud dark eyes, 

Whose glance is truth and love, and in those lips, 
Whose smile is but a ray of the soul’s sunshine ; 

In thy high bearing, in thy movements, words; — 
Thou art of heaven's nobility — as far 
Excelling earth’s, as doth yon winged star, 

Ptobed in its garment of celestial glory, 

Outshine the earth-bound glow-worm. 

f. s. o. 


152 THE POETRY OF FLOWERS 


MATERNAL LOYE. 

A TUFT OF MOSS. 

J. J. Rousseau was ardently fond of the study of botany ; 
and of all plants the family of mosses delighted him most. He 
would often remark that they gave an air of youth and fresh- 
ness to our fields, adorning nature when flowers had vanished. 
The stunted stems of dead and leafless trees are oft clad with a 
mossy verdure. 

Like to those friends whose affection ceases not when mis- 
fortune assails us, and whose kind services even ingratitude 
cannot repel, the mosses, exiled from cultivated fields, advance 
toward the barren and untilled land, which they cover with 
their own substance, and by degrees transform it into a fruitful 
soil. In winter it is said that they are charged with hydrogen 
and carbon, so as to infect the air ; but in summer, beds of 
moss are formed in the umbrageous shades of forests and plant- 
ations, where the shepherd, the lover, and the poet, are equally 
delighted to repose ; and we may add, with Carrington, the 
traveller too : — 

Here, traveller, rest thee, for the sun is high, 

And thou art old and weary. It is sweet 
To find, at noon, a moorland bank like this, 

• To press its luxury of moss, and bid 

The hours fleet by on burning wing. Awhile 
Repose thou in the shade, this stunted tree 
Grasped by the choking ivy — of his race 
The last — has foliage yet enough to screen 
Thine ardent brow ; and just below, a brook, 

Fresh from the ever-living spring, presents 
Its purest crystal to thy lip. 

The little birds use the delicate moss in the formation of 
their nests. Is this instinct? Yea, truly the instinct of ma- 
ternal care, and maternal tenderness, implanted by nature in 


AND FLOWERS OF POETRY. 153 


the light-winged inhabitants of the air. Clare shall tell us of 
the thrush preparing her nest : — 

Within a thick and spreading hawthorn bush, 

That overhangs a molehill large and round, 

1 heard, from morn to morn, a merry thrush 
Sing hymns to sunrise, and I drank the sound 
With joy; and, often an intruding guest, 

I watched her secret toils from day to day — 

How true she warped the moss, to form a nest, 

And modelled it within with wood and clay ; 

And by-and-by, like heath-bells gilt with dew, 

There lay her shining eggs, as bright as flowers, 
Ink-spotted over shells of greeny blue ; 

And then I witnessed, in the sunny hours, 

A brood of Nature’s minstrels chirp and fly, 

Glad as that sunshine, and the laughing sky. 

The squirrel also uses it in the construction of its circular abode. 

The Laplanders, we are told, protect themselves from the 
rigours of winter by covering their subterraneous dwellings 
with moss; their numerous herds of raindeer know no other 
food; yet they yield their owners a delicious milk, a succulent 
flesh, and warm skins ; affording the poor Laplander all the 
benefits we derive from the cow, the horse, and the sheep. On 
the appearance of the aurora-borealis, which cheers their long 
nights, the Laplanders assemble around poles, and celebrate, to 
the beating of the tambour, the virtues or warlike deeds of 
their forefathers; while their wives are seated near them, cher- 
ishing, in moss cradles, their little infants, enveloped in ermine. 

Beneficent nature, in those dreary climes, surrounds every- 
thing with mosses, to preserve her children from the biting 
fiosts, and to nourish them upon her maternal bosom. 

Ere yet her child has drawn its earliest breath, 

A mother’s love begins — it glows till death ; 

Lives before life — with death not dies — but seems 
The very substance of immortal dreams. 

Anon. 




154 THE POETRY OF FLOWERS 


MELANCHOLY. 

WEEPING-WILLOW. 

By the waters of Babylon we sat down and wept, when we re- 
membered thee, O Sion ! As for our harps, we hanged them up upon 
the willows that are therein. 

Psalms. 

We cannot conceive a more touching appeal to human sym- 
pathy, than the mournful complaints of the daughters of Jeru- 
salem. Their Babylonish conquerors having led them away 
captive, required of them “ a song, and melody in their heavi- 
ness; ‘Sing us one of the songs of Sion.’” But the hearts of 
her children were surcharged with grief, and they asked : 
“How shall we sing the Lord’s song in a strange land?” They 
were oppressed with sorrow — they were bowed down with 
affliction — they “hanged their harps upon the willows, and 
sat down and wept.” Is not then the weeping- willow a sacred 
emblem of melancholy ? 

My gentle harp ! once more I waken 
The sweetness of thy slumbering strain ; 

In tears our last farewell was taken, 

And now in tears we meet again. 

No light of joy hath o’er thee broken, 

But — like those harps, whose heavenly skill 

Of slavery, dark as thine, hath spoken — 

Thou hangst upon the willows still. 

The weeping- willow is a native of the East, and is greatly 
admired for its drooping pendulous branches, waving over our 
lakes and streams. 

Thus o’er our streams do Eastern willows lean 

In pensive guise ; whose griel-inspiring shade, 

Love has to melancholy sacred made. 

Delille. 

i 

— i 


AND FLOWERS OF POETRY. 155 


It grows wild on the coast of Persia, and is common in Chi- | 
na. The celebrated specimen in Pope’s garden at Twickenham, 
is said to have been the first introduced into England ; but this 
we believe to be erroneous. The poet chanced to be present 
on the opening of a package which came from Spain, and ob- 
serving that the sticks had some vegetation, fancied they might 
produce something which we did not possess in England. 
Witii this idea he planted a cutting, from which sprang the j 
parent-tree of many of our finest and most admired specimens. | 


How vain the task to wake my lyre 
To rapture’s thrill, with passion’s fire, 

While sorrow o’er my ^earJ-strings plays, 
With trembling touch, her saddest lays ! 

F. S. O. 


MELANCHOLY SPIRIT. 

SORROWFUL GERANIUM. 

Few know that elegance of soul refined, 

Whose soft sensation feels a quicker joy 
From melancholy’s scenes, than the dull pride 
Of tasteless splendour and magnificence 
Can e’er afford. 

Warton 

This charming geranium, like a melancholy spirit, shuns 
the light of day; but it enchants those who cultivate it by 
the delightful perfumes it exhales. 


156 THE POETRY OF FLOWERS 

Oh! there’s melody rich in that mournful tone, 
Though with wo so heavily laden; 

And I ’d rather be sad with thee, my own, 

Than gay with a happier maiden! 

f. s. o. 


MESSAGE. 

IRIS. 

Every varying hue 

Of every beautiful thing on earth — the teints 
Of heaven’s own Iris — all are in the west 
On this delicious eve. 

Carrington. 

This plant is supposed to have been named after Juno’s attend- 
ant, because its colours are similar to those bestowed on the 
messenger of that goddess, by poets and mythological writers. 

The various Iris, Juno sends with haste. 

Ovid. 

Iris is usually portrayed as descending from a rainbow ; and 
the eye of heaven (Plutarch says that is the meaning of the 
word Iris) is not more variegated than the flower that has been 
honoured by her name. 

Perchance the gods, like us, conversed with flowers, 

And Iris, their sweet messenger, did borrow 
From the rich wreaths she bore in those bright hours, 

Her wings’ still varying hues of joy and sorrow : — 

Oh ! were she now on earth — how fit to bear 
To thee, my goddess, all my love and care ! 

F. S. O. 

— i 


AND FLOWERS OF POETRY. 


157 


ILLUSTRATION OF PLATE. 

Purple and Yellow Iris. — Hawthorn. 

I send you a message of love on the wings of hope 

Fond Love, who lives in my heart for thee, 

Had a message this morning he wanted to send, 
While Fear, who will ever beside him be, 

Cried: “ Better beware, my friend!” 

But then, sweet Memory woke awhile, 

And softly she told in Love’s true ear, 

Of a certain bewitching and eloquent smile, 

Which you have forgotten, I fearl 

Young Hope, who was listening, caught the sound, 

All beaming with light, she Hew to Love — 

“ Oh ! round my wings, be your billetdoux bound, 

And I ’ll be your carrier-dove !” 

’Twas done — Hope went — (she knows the way 
By heart, for she ’s travelled it oft ere now) — 

Ah! send her back to me, sweet, I pray, 

With the same unclouded brow ' 

She will furl, at your feet, her weary wing, 

And oh ! if the billet she bears be fled, 

Think that Fear must have followed and loosened the 
string — 

And just guess all that Love would have said. 

f. s. o 


o 


158 THE POETRY OF FLOWERS 


MILD, OR SWEET DISPOSITION. 

MALLOW. 

Who cut up mallows by the bushes, and juniper-roots for their meat. 

Job xxx. 4 

From the above passage we learn that the mallow was used 
for food by those nomadic tribes who have always pitched 
their tents in the desert in preference to dwelling in fixed habi- 
tations, where it would have been their duty to cultivate the 
earth in order to multiply the benefits of nature. 

This plant was also eaten, boiled, by the Greeks and Romans, 
and in salads, with lettuce and other vegetables; it is still used 
by the Chinese and the Egyptians. 

It grows, naturally, by the rivulet’s side ; and is of easy cul- 
ture in any common garden soil. Its appearance is graceful 
and pleasing ; and its rose-coloured flowers harmonize with its 
leaves and branches, the whole plant being covered with a sil- 
ver-coloured silky down. It is equally agreeable to the sight as 
to the touch. Its flowers, its stalks, its leaves, and its roots, 
are all useful. We procure from them various juices, sirups, 
pastilles, and pastes, alike beneficial to health, and agreeable to 
the palate. The Romans used it on account of its medicinal 
qualities 


And on that cheek and o’er that brow 
$o soft, so calm, yet eloquent, 

The smiles that win — the teints that glow — 
But tell of days in goodness spent — 

A mind at peace with all below, 

A heart, whose love is innocent. 


Eyron. 


AND FLOWERS OF POETRY. 159 


MODESTY. 

BLUE VIOLET. 

Let us entreat our friends who would seek for the purest and 
most healthy pleasures, to rise with the sun, and accept the 
invitation of Elliott to 

Walk where hawthorns hide 
The wonders of the lane ; 

and then — but Howitt, in all his freshness, shall tell you what 
delights you will meet with : — 

“All unexpectedly, in some embowered lane, you are arrest- 
ed by the delicious odour of violets, those sweetest of Flora’s 
children, which have furnished so many beautiful allusions to 
the poets, and which are not yet exhausted ; they are like true 
friends, we do not know half their sweetness till they have felt 
the sunshine of our kindness; and again, they are like the 
pleasures of our childhood, the earliest and the most beautiful. 
In May, they are seen in all their glory — blue and white — 
modestly peering through their thick-clustering leaves.” 

Barry Cornwall places the violet before the rose in the fol- 
lowing lines. True it is that modesty, of which quality it is 
the universal emblem, is more to be desired than beauty, but 
we must ever acknowledge the rose as the queen of flowers. 

It has a scent as though Love, for its dower, 

Had on it all his odorous arrows tost ; 

For though the rose has more perfuming power 
The violet (haply, ’cause ’t is almost lost, 

And takes us so much trouble to discover) 

Stands first with most, but always with a lover. 

It is interesting to notice how widely the violet is distributed 
over this blooming world. They spring at the foot of the Alps, 
and bloom on the very summit of the Alleganies; — their 


160 


THE POETRY OF FLOWERS 


l 


sweets are b jrne upon the spicy gales of Araby the blest ; and 
they put forth their cerulean flowers in the Persian garden of 
roses. Humboldt gathered them in the valleys of the Amazon, 
and on the sides of the lofty Andes. The most lovely flowers 
are the most simple, and plainly the favourites of nature, for 
they are the most widely diffused. 

It was a thought, as delicate as it was beautiful, which sug- 
gested the modest violet as a poetical reward. A golden violet 
was announced as the prize to be decreed to the author of the 
best poem in the Provencal language, in 1324. 

And in that golden vase was set 
The prize — the golden violet. 

The Troubadour. 


The blossom that blooms in every land, 
Where laughs a summer-sky blue and bland ! 
As if to tell of that blessed heaven, 

Whose softest hue to its heart is given ! 

f. s. o. 


The violet droops its soft and bashful brow, 

But, from its heart, sweet incense fills the air; — 
So rich within — so pure without — art thou, 

W th modest mien and soul of virtue rare. 

f. s. o. 


\ 


AND FLOWERS OF POETRY. 161 




MOURNING. 

CYPRESS . 

The mournful cypress rises round, 

Tapering from the burial-ground. 

Lucan. 

The cypress is the universal emblem of mourning, and is the 
funeral tree in the Eastern world, from the Persian gulf to the 
Caspian sea ; it is also dedicated to the dead, from Mazanderan 
to Constantinople, as well as to the utmost bounds of China’s 
fruitful shores. 

Ovid gives us a traditionary account of the mournful origin 
of the cypress- tree, and we always find it devoted to mournful 
thoughts, or sad solemnities. Cyparissus, son of Telephus of 
Cea, was beloved by Apollo. Having killed the favourite stag 
of his friend, he grieved, pined, and, dying, was changed by 
Apollo into a cypress-tree. Calmet describes it to be a tall, 
straight tree, having bitter leaves. The shade and smell were 
said to be dangerous ; hence the Romans looked on it as a fatal 
tree, and made use of it at funerals. It is an evergreen ; the 
wood is heavy, of rather a fragrant smell — is not liable to be 
attacked by insects, and does not speedily decay. Shakspeare 
says that cypress is the emblem of mourning ; and we are told 
by Irving that, in Latium, on the decease of any person, a 
branch of cypress was placed before the door. It is strictly 
the “sorrowing tree nor do we ask with Prior, 

Why does the cypress flourish in the shade? 

For there is scarcely any poet who does not write of it in 
mournful sadness. Spenser records it as “ the cypress funeral 
and Miss Landon observes, 

A funeral train 

Will in a cypress-grove be found. 


162 


THE POETRY OF FLOWERS 


And again, 


The moon is o’er a grove of cypress-trees, 
Weeping like mourners. 

And Byron asks, 


Ah! why 

With cypress branches hast thou wreathed thy bowers? 

Mournful as is the wreath, we find it bestowed, a sad memo- 
rial, by the hand of friendship : — 

O’er ruined shrines and silent tombs, 

The weeping cypress spreads its glooms, 

In immortality of wo, 

While other shrubs in gladness blow, 

And fling upon the passing wind 
Their liberal treasures unconfined. 

And well its dark and drooping leaf, 

May image forth the gloom and grief, 

Which, when we parted, gave reply, 

From heaving heart and dewy eye : 

Then, lady, wear this wreath for me, 

Plucked from the faithful cypress* tree. 

Wiffen. 

In Turkey, the custom of planting the cypress-tree over the 
tombs of departed friends is still religiously adhered to ; and in 
performing this duty they are careful to select the upright va- 
riety, as they suppose it to indicate that the soul of their 
friend has ascended to the regions of bliss. 


Peace to the dust that in silence reposes 
Beneath the dark shades of cypress and yew; 

! Let Spring deck the spot with her earliest roses, 

And heaven wash their leaves with its holiest dew. 

Pierpont. 


AND FLOWERS OF POETRY. 


163 


MUSIC. 


REEDS. 


Arcadian pipe, the pastoral reed 
Of Hermes. 


Milton. 


Pan, being enamoured of the beautiful Syrinx, pursued her 
one day to the borders of the river Ladon, in Arcadia. The 
nymph implored the help of the river, which received her into 
its waters, and metamorphosed her into reeds. It is recorded 
that Pa<n cut several cf these reeds of different sizes, and form- 
ed thereof the first shepherd’s pipe. 


There is a voice, whose tones inspire 

Such thrills of rapture through my breast, 

I would not hear a seraph-choir, 

Unless that voice could join the rest. 

Byron. 


MY BEST DAYS ARE PAST. 

MEADOW-SAFFRON. 

When summer is rapidly departing, this flower, which 
closely resembles the spiiag-saffron, is seen in bloom amid the 
verdure of our meadows. It is the autumnal colchicum ; and 
though like the spring-saffron in appearance, how unlike in its 
import! the former brings us joy and hope, while the latter an- 
nounces the speedy termination of the bright and lovely days 
of summer. 


164 THE POETRY OF FLOWERS 

The ancients believed that, coming from the fields of Col- 
chis, it owed its birth to some drops of the magic liquor Medea 
is said to have prepared, in order to restore the aged iEson to 
the vigour of youth. This fabulous origin led many to suppose, 
for a long period, that the plant was a sure preservative against 
all manner of diseases. The Swiss encircle the necks of their 
children with this flower, and believe that they protect them 
from every evil. The false opinion of the marvellous virtues of 
this plant has misled the wisest men ; and it required all the 
experience of Haller to dissipate the vain superstitions of the 
ignorant. 

The flower has neither leaves nor stalks. A long tube, white 
as ivory, is its only support; the flowers die off in October, 
and leave no external appearance of seeds. “These lie buried 
all the winter within the bulb ; in spring they grow up on a 
fruit-stalk, and are ripe about the time of hay-harvest.” — “As 
this plant blossoms late in the year, and probably would not 
have time to ripen its seeds before winter, Providence has so 
framed its structure, that it may be performed at a depth with- 
in the earth, out of the reach of the usual effects of frost ; and 
as seeds buried at such a depth are known not to vegetate, a 
no less admirable provision is made to raise them above the 
surface when they are perfected, and to sow them at a proper 
season.” It thus mingles its fruits with the flowers of spring, 
and its flowers with the fruits of autumn ; at all times the 
lambs shun it, and the young shepherdess becomes melancholy 
at the sight of it : so the melancholy-hearted oft weaves a 
wreath of its pale blue flowers, consecrating it to the memory 
of happy days which have fled to return no more. 

Let fate do her worst, there are relics of joy, 

Bright dreams of the past, which she cannot destroy; 
Which come in the night-time of sorrow and care, 

And bring back the features that joy used to wear. 

Moore. 


AND FLOWERS OF POETRY. 165 


MY REGRETS FOLLOW YOU TO THE 
GRAVE. 

ASPHODEL. 

The yellow and white species of this elegant plant arc of 
very easy culture, and increase rapidly. The latter species 
covers immense tracts of land in Apulia, and affords very good 
nourishment to the sheep. 

It was sacred to Proserpine, and anciently used in funeral 
ceremonies ; and it was believed that, beyond the Acheron, the 
shades of the departed walked in vast meadows of Asphodel, 
where they drank the waters of oblivion. 

Bright be the place of thy soul ! 

No lovelier spirit than thine 

E’er burst from its mortal control, 

In the orbs of the blessed to shine. 

On earth thou wert all but divine, 

As thy soul shall immortally be ; 

And our sorrows may cease to repine, 

When we know that thy God is with thee. 

Bybon, 


166 THE POETRY OF FLOWERS 


MIRTH. 

BROOM. 

»Twas that delightful season, when the broom 
Full-flowered, and visible on every steep, 

Along the copses runs in veins of gold. 

WORDSWORTH. 

“The broom,” says Mr. Martyn, “converts the most barren 
spot into an odoriferous garden.” W ords worth notices it in the 
following natural and beautiful lines : — 

On me such beauty summer pours, 

That I am covered o’er with flowers ; 

And when the frost is in the sky 
My branches are so fresh and gay, 

That you might look at me and say, 

This plant can never die. 

The butterfly, all green and gold, 

To me hath often flown, 

Here in my blossoms to behold 
Wings lovely as his own. 

Burns introduces the yellow broom in his “ Caledonia :” — 

Their groves of sweet myrtle let foreign lands reckon, 

Where bright-beaming summers exalt the perfume j 
Far dearer to me yon lone glen o’ green breckan, 

Wi’ the burn stealing under the lang yellow broom. 

It is said that when Linnaeus came to England, in 1736, he-i 
was so much delighted with the golden bloom of the furze, 
which he saw for the first time on the commons near London, 
that he fell on his knees enraptured at the sight. 

The Spanish broom is cultivated with us for the beauty and 
perfume of its flowers. It approaches nearer to the size of a 
tree than a shrub, and continuing in blossom from July to October, 


AND FLOWERS OF POETRY. 


167 


it is a great enlivener of our gardens, which, at the latter season, 
are but scantily provided with gay flowers. 

Cowper has, with many other fine plants, also noticed the 
broom: — 


Hypericum, all bloom, so thick a swarm 
Of flowers, like flies, clothing her slender rods, 

That scarce a leaf appears ; mezereon too, 

Though leafless, well attired, and thick beset 
With blushing wreaths, investing every spray ; 

Althea, with the purple eye; the broom, 

Yellow and bright, as bullion unalloyed, 

Her blossoms. 

Sweet blooms genista in the myrtle shade. 

Darwin. 


Joy, like the zephyr, 

That flies o’er the flower, 

Rippling it into 

Fresh fairness each hour — 

Joy has waved o’er thee 
His sun-woven wing, 

And dimpled thy cheek, 

Like the roses of spring. 

f. s. o 


ORNAMENT. 

HORNBEAM. 

The French ha/e made this plant the emblem of ornament, 
from the splendid effect produced by its judicious training in the 


168 THE POETRY OF FLOWERS 

hands of De Notre, in the gardens of Versailles. These gar- 
dens,” says Mr. Philips, “which cost Louis the Fourteenth be- 
tween eight and nine hundred thousand pounds sterling, are 
well calculated to display courtly pomp, and that kind of mag- 
nificent revelry, which this monarch indulged in. Rut to us 
this heavy grandeur appears more gloomy than the thickest 
foiest, except when the alleys and walks are crowded with 
company, and the waterworks are in full action. Then every 
beholder must be struck with the splendour of the scene, which 
the dress of the French ladies is particularly calculated to im- 
prove; for the gayety of their costume relieves the sombre ap- 
pearance of the trained hornbeam and clipped elm. Their 
light gauze, gay ribands, feathers, and flowers, substitute blos- 
soms ; for, while one seems to display a basket of roses on her 
head, others carry nodding thyrsuses of lilac, or waving labur- 
num ; and with the mixture of poppies, nasturtiums, and sun- 
flowers, with which they are bedecked, you forget that the 
trees are without blossom, for here you see the gay ranks of 
scarlet soldiers, and there files of green elms ; here wave the 
winged leaves of the acacia, there bows the no less pliable 
head of the courtier; here dances the jet-d’eau in air, there 
drops to the earth the well-taught courtesying belle ; here mon- 
sters spout out water to cool the air, while flattery as abun- 
dantly sends forth her streams to refresh the vain. In one spot 
we see the proud officer flaunting round the brazen image of 
Venus, while the opposite angle shows the sentimental dame 
reclining on the pedestal of Mars, or Jupiter. Agricola, a Ger- 
man author, says this scene gave him a foretaste of Paradise.” 

She binds not her luxuriant hair 
With dazzling gem or costly plume, 

But gayly wreaths a rosebud there, 

To match her maiden-bloom. 

F. S. O. 


AND FLOWERS OF POETRY. 169 


ORACLE. 


DANDELION. 

Linkeus has given the dandelion a deserved place in the hor- 
ologe of Flora. It is one of the plants that may be most cer- 
tainly depended upon as to the hour of opening and closing its 
flowers. 

The flower, if we well examine it, we shall discover to 
be fully as handsome as the fine garden anemone ; and it only 
needs to be as rare, to be prized as much. This plant blossoms 
early in the spring, and continues through the summer. 

Thine full many a pleasing bloom 
Of blossoms lost to all perfume ; 

Thine the dandelion flowers, 

Gilt with dew, like sun with showers. 

Clare. 

The dandelion flower is used for Love’s oracle. If you are 
separated from the object of your affection, gently detach one 
of these transparent spheres ; each little feather that composes 
it is charged with a tender thought. Turn toward the spot in- 
habited by your beloved ; blow softly, and every little winged 
traveller, like a faithful messenger, shall bear your secret hom- 
age to her feet. If desirous of knowing whether the object so 
dear thinks of you now you are absent, blow again, and if there 
remain one tuft, it is a sign you are not forgotten. But the sec- 
ond charm should be done with care; blow very gently; for at 
any age, even at that, age which is most congenial to love, it is 
not well for our peace that we should too rudely disperse the 
pleasing illusions which embellish life. 

Miss Landon wrote some very beautiful lines on seeing an 
illustration of the garden-scene in Goethe’s Faust, where Mar- 


p 



170 THE poetry of flowers 


garet plucks a starlike flower to divine the real sentiments of 
her lover. They are called, “ The Decision of the Flower ” 

And with scarlet poppies around like a bower, 

The maiden found her mystic flower; 

“Now, gentle flower, I pray thee tell 
If my lover loves me, and loves me well ; 

So may the fall of the morning dew 
Keep the sun from fading thy tender blue. 

Now I number the leaves for my lot — 

He loves not — he loves me — he loves me not — 

He loves me — yes, thou last leaf, yes — 

I ’ll pluck thee not, for that last sweet guess ! 

He loves me!” — “Yes,” a dear voice sighed, 

And her lover stands by Margaret’s side. 


PARENTAL LOVE. 

CINQUEFOIL. 

In rainy weather, the leaves of this plant incline themselves 
over its flowers, forming a kind of canopy, or parapluie. It is 
gratifying to see a tender mother watching with anxious care 
the unfolding of a beloved daughter’s mind and character. 

When love rejects and friends forsake, 

A parent, though his heart may break, 

From that fond heart will never tear 
% The child, whose last retreat is there. 

Ellen Fitzarthur. 


AND FLOWERS OF POETRY. 


171 


PEACE. 

OLIVE. 

To thee the heavens, in thy nativit ; , 

Adjudged an olive-branch, and laurel crown, 

As likely to be blest in peace and war. 

Shakspeare. 

% 

This tree has been celebrated in all ages as the bounteous 
gift of Heaven, and as the emblem of peace and plenty. Peace 
— wisdom — concord — clemency — joy — the graces — have 
ever been crowned with olive. 

The dove sent out of the ark by Noah to ascertain if the wa- 
ters were assuaged, returned bearing a branch of olive, as a 
symbol of that rest which Heaven was about to restore to the 
earth. 


The sinner placed a verdant spray 
Within her dead child’s hand, 

And turned, in wordless grief, away — 

A lost one — barred and banned! 

In that fond act were prayer and vow — 
Oh! be her guilt forgiven! 

Her dovelet bears an olive-bough, 

To make her peace with Heaven. 


f. s. o. 


172 THE POETRY OF FLOWERS 


PERFECT EXCELLENCE. 

STRAWBERRY. 

An illustrious French writer conceived the design of comp> 
ling a general history of nature, in imitation of the ancients, 
and of some moderns. A strawberry-plant, which chanced to 
grow by his window, dissuaded him from this design. On mi- 
nutely observing it, he discovered so much to leam and to ad- 
ihire, that he felt convinced that the study of a single plant, 
with its habits, would suffice to employ the life of many learn- 
ed men. He therefore abandoned his design, and the ambitious 
title he had selected, and gave to his work the simple title, 
“ Studies from Nature.” In this book, which is worthy of Pliny 
or of Plato, we find the best history of the strawberry. This 
humble plant delights to grow in our woods, and cover their 
borders with delicious fruit, which is the property of any one 
who chooses to gather it. It is a charming gift, that Nature 
has withdrawn from the operation of those laws which render 
property exclusive : and this she is pleased to bestow on all her 
children. 

The flowers of the strawberry form pretty bouquets; but 
what barbarous hands would wish to gather them, and so de- 
stroy the promised fruit? Let us hear Wordsworth’s plea for 
the strawberry-blossom . — 

That is a work of waste and ruin — 

Do as Charles and I are doing ! 

Strawberry-blossoms, one and all, 

We must spare them — here are many — 

Look at it — the flower is small — 

Small and low, though fair as any ; 

Do not touch it ! — summers two 
I am older, Anne, than you. 

Pull the primrose, sister Anne, 

Pall as many as you can. 

Here are daisies, take your fill; 

Pansies and the cuckoo-flower; 


AND FLOWERS OF POETRY. 173 


Of the lofty daffodil 
Make your bed and make your bower; 

Fill your lap and fill your bosom; 

Only spare the strawberry-blossom ! 

Primroses, the spring may love them, 

Summer knows but little of them. 

Violets, a barren kind, 

Withered on the ground must lie ; 

Daisies leave no fruit behind, 

When the pretty flowerets die ; 

Pluck them, and another year 
As many will be growing here. 

God has given a kindlier power 
To the favoured strawberry-flower: 

When the months of spring are fled, 

Hither let us bend our walk ; 

Lurking berries, ripe and red, 

Then will hang on every stalk, 

Each within its leafy bower; 

And for that promise spare the flower. 

It is, however, most delightful to find the fruit of the straw- 
berry, at all seasons of the year, amid the glaciers of the lofty 
Alps. When the sunburnt traveller, oppressed with fatigue up- 
on those rocks, which are as old as the world, in the midst of 
those forests, half destroyed by avalanches, he vainly seeks a 
hut to rest his weary limbs, or a fountain to refresh himself. 
Unexpectedly, he sees, emerging from the midst of the rocks, 
troops of young girls who advance toward him with baskets of 
perfumed strawberries; they appear on all the heights above, 
and in every dell below. It seems as though each rock and 
each tree were kept by one of these nymphs, as placed by Tas- 
so at the gate of the enchanted gardens of Armida. As sedu- 
cing, though less dangerous, the young Swiss peasants, in offer- 
ing their charming baskets to the traveller, instead of retarding 
I his progress, give him strength to pursue his journey. The 
strawberry has the property of not undergoing the acetous fer- 
mentation in the stomach. The learned Linnaeus was cured of 


t2 


174 THE POETRY OF FLOWERS 


frequent attacks of gout by the use of strawberries. This fruit, 
it is, said, has often restored to health patients given over by 
every physician. They will compose a thousand delicious sher- 
bets ; they are the delight of our tables, and the luxury of our 
rural feasts. Everywhere these charming berries, which dis- 
pute in freshness and in perfume the buds of the most beautiful 
flowers, please the sight, the taste, and the smell. Yet, there 
are some unfortunate enough to hate strawberries, and to swoon 
at the sight of a rose. Ought it to astonish us since we see 
certain persons grow pale at the relation of a good action, as 
if the inspiration of virtue were a reproach to them ! Happily, 
these sad exceptions take nothing from the charm of virtue — 
from the beauty of the rose — nor from the perfect excellence 
of the most charming of fruits. 

But virtue bruised exhales a purer breath, 

Sighs fragrance forth, and triumphs over death. 

Phillips. 


PERFIDY. 

ALMOND LAUREL. 

In the environs of Trebizond, on the borders of the Black 
sea, we find the treacherous laurel growing naturally. It con- 
ceals under its sweet and brilliant verdure the most deadly 
poison we are acquainted with. In winter it adorns our groves ; 
and is loaded in the spring with numerous pyramids of white 
flowers, which are succeeded by a black fruit, resembling small 
cherries ; its flowers, fruit, and leaves, have the taste and smell 
of the almond. It is related that a tender mother, on the 
birthday of one of her children, wishing to prepare something 


AND FLOWERS OF POETRY. 175 

nice for her family, threw some pounds of sugar and a handful 
of almond laurel leaves into a caldron of boiling milk. At the 
prospect of the approaching feast, an innocent joy sparkled in 
every eye. 0 surprise! Scarcely had they tasted the fatal 
dish, when every countenance changed, their hair became erect, 
their breathing quickened, a thousand confused noises issued 
from their chests, a horrible fury possessed, agitated, and disor- 
dered their senses. The desolate mother wished to call for 
succour ; but, seized with the same disease, she partook of the 
insensible delirium, for which she could offer no remedy. Calm 
sleep at length relieved them from this sad inebriation. But 
what were the feelings of the poor mother, when informed on 
the morrow, that she had given to her children a poison like 
that of the viper ! This poison, concentrated in the distilled 
water or the essential oil of the almond laurel, is so violent, 
that it is sufficient, when it comes in contact with the slightest 
wound, to kill the most robust man. The sale of this deadly 
poison is strictly forbidden in Italy ; yet, notwithstanding, some 
greedy distillers have sold it under the name of extract of bit- 
ter almond. We should therefore caution all persons against 
its use. It was formerly much used to give a flavour to pud- 
dings, custards, &c. ; but this practice is much less frequen* 
siace it has been ascertained to be so poisonous in its effects. 

Though my many faults defaced me, 

Could no other arm be found, 

Than the one which once embraced me, 

To inflict a cureless wound? 

Byron 


176 


THE POETRY OF FLOWERS 


PLEASURE WITHOUT ALLOY. 


MOSS-ROSE. 

The rose that hails the morning, 

Arrayed in all its sweets, 

Its mossy couch adorning, 

The sun enamoured meets. 

The elegant moss-rose is commonly supposed to be the off- 
spring of the Provence rose, though some consider it to belong 
to the family of hundred-leaved roses. It has ever been made 
the emblem of perfect joy ; Milton mentions it as 

Without thorn, the rose ; 

And an anonymous writer has sung of it in that character : — 

Oh ! I love the sweet-blooming, the pretty moss-rose, 

’Tis the type of true pleasure, and perfected joy; 

Oh! I envy each insect that dares to repose 
’Mid its leaves, or among its soft beauties to toy. 

I love the sweet lily, so pure and so pale, 

With a bosom as fair as the new-fallen snows; 

Her luxuriant odours she spreads through the vale, 

Yet e’en she must yield to my pretty moss-rose. 

Oh! I love the gay heart’s-ease, and violet blue, 

The sunflower and bluebell, each floweret that blows, 

The fir-tree, the pine-tree, acacia, and yew, 

Yet e’en these must yield to my pretty moss-rose. 

Yes, I love my moss-rose, for it ne’er had a thorn, 

’T is the type of life’s pleasures, unmixed with its woes ; 

’Tis more gay, and more bright, than the opening mom — 

Yes, all things must yield to my pretty moss-rose. 


AND FLOWERS OF POETRY. 177 


PLATONIC LOVE. 

ACACIA. 

The savages of America have consecrated the acacia to the 
! genius of chaste love ; their bows are made from the incorrupt- 
ible wood of this tree, their arrows are armed with one of its 
thorns. These fierce children of the desert, whom nothing can 
subdue, conceive a sentiment full of delicacy; perhaps what 
they are unable to express by words, but they understand the 
sentiment by the expression of a branch of blooming acacia. 
The young savage, like the city coquette, understands this sedu- 
cing language, and receives, blushing, the homage of him who 
has won her heart by respect and by love. 

It is not more than a century since the forests of Canada 
yielded us this beautiful tree. ^'The botanist Robin, who first 
brought it us, gave it his name. ’ The acacia, when spreading 
its light shade in our groves, with its scented flowers, and sweet 
and fresh verdure, seems to prolong the spring. The nightin- 
gale loves to confide its nest to this new inhabitant of our cli- 
mate ; the lovely bird, assured by the long and strong thorns 
which protect its family, sometimes descends upon the lowest 
branches of the tree, to make $§ ravishing notes the better 
heard. 

The acacia has been made the emblem of domestic beauty 
by an anonymous writer, who thus speaks of it : “ Teints of the 
white, the golden, and the red lose, are beautifully intermingled 
with the rich blossoms of the acacia. It is found in the most 
retired places, and it blooms the fairest in the closeness of its 
own foliage. It loves the mossy rock and the solitary grove, 
and pines away in the gay garden and crowded parterre. Nour- 
mahal sings: — 

Our rocks are rough, but smiling there 
The acacia waves her yellow hair, 


THE POETRY OF FLOWERS 


f 178 

Lonely and sweet, nor loved the less 
For flowering in a wilderness: 

Then come, thy Arab maid will be 
The loved and lone acacia- tree. 

There could be no fitter emblem of a beautiful woman flourish- 
ing in the retirement of her home, secluded from the vanities 
of ‘crowded life,’ and adorning with her bloom the abode of 
domestic affection.” 


They know not my heart who believe there can be 
One stain of this earth in its feelings for thee; 

Who think, while I see thee, in beauty’s young hour, 
As pure as the morning’s first dew on the flower, 

I could harm what I love — as the sun’s wanton ray 
But smiles on the dewdrop to waste it away! 

Moore. 


POETRY. 

EGLANTINE, OR SWEET-BRIER. 

O’er-canopied with luscious woodbine, 

With sweet mu§k-roses, and with eglantine. 

Shakspeare. 

The eglantine or wild-brier rose, more commonly called sweet- 
brier, has ever been considered the poet’s flower. It is not lov- 
ed for its fair delicate blooms only; but its fragrant leaves, 
which perfume the breezt if dewy mom, and the soft breath 


AND FLOWERS OF POETRY. 


179 


of eve, entitle it to its frequent association with the woodbine 
or honeysuckle. 


Its sides I ’ll plant with dew-sweet eglantine. 
And honeysuckles full of clear bee wme. 


Keats. 


Yonder is a girl who lingers 
Where wild honeysuckle grows, 
Mingled with tho brier-rose. 


H. Smith. 


Burns says : “ I have some favourite flowers in spring, among j 
which are the mountain-daisy, the harebell, the wild-brier rose, 
the budding birch, and the hoary hawthorn.” 


We eye the rose upon the brier, 
Unmindful that the storm is near. 


The fragrance exhaled by the sweet-brier, especially after a 
gentle shower, is so agreeable and refreshing, that we do not 
think it can be too thickly planted amid our plantations and 
thickets. Dryden, from Chaucer, thus celebrates its delightful 
fragrance : — 


A sweeter spot on earth was never found, 

I looked, and looked, and still with new delight ; 
Such joy my soul, such pleasures filled my sight ; 
And the fresh eglantine exhaled a* breath, 

Whose odours were of power to raise from death. 



The world is full of poetry — the air 
Is living with its spirit; and the waves 
Dance to the music of its melodies, 

And sparkle in its brightness. 





Perceval. 


180 THE POETRY OF FLOWERS 


PREFERENCE. 

APPLE-BLOSSOM. 

What virgin’s cheek 
Can match this apple-bloom ? 

Elliott. 

What is more enchanting to the lover of nature than the 
apple-tree, when clad with its beautiful bloom in the early 
spring ? and the more; that they hold forth the promise of an 
abundance o f delicious fruit. The apple-bloom is indeed a 
charming flower, and l}y some is preferred before the rose. 


\ ■* 

The idol I have s€t apart to worship — 

Watched over — yherished — mused upon in absence, 
Until mv full heart ached with tenderness ! 

f. s. o. 



r 


AND FLOWERS OF POETRY. 


ILLUSTRATION OF PLATE. 

Blue Violet. — Daisy. — Apple-Blossom. 

Your modesty and innocence secure you the preference. 

If regal sceptre, love, were mine; — 

Or I possessed the realms of faery, 

This faithful heart woifld still be thine, 

My innocent and modest Mary! 


Young Beauty, at my feet threw down 
A rose, with rare and tempting offers; — 
And Rank, unclasped her radiant crown; — 
And Wealth unlocked her loaded coffers: — 


But Beauty’s roses soon must fly ; 

An d Love with Rank and Wealth is wary; — 
Thy purer charms can never die, 

My innocent and modest Mary ! 


i 


Q 


i 

( 

.j 


182 THE POETRY OF FLOWERS 


PREFERENCE. 

ROSE-SCENTED GERANIUM. 

Of the geranium there are many species; some drooping, 
others brilliant, some perfumed, and others again inodorous. 
That which emits a roselike odour, is distinguished by the soft- 
ness of its leaves, its sweet odour, and the beauty of its purple 
flowers. 

No wonder that cheek, in its teinting transcendent, 
Excelleth the beauty of others by far; 

No wonder that eye is so richly resplendent — 

Your heart is a rose, and your soul is a star! 

Then give back to heaven the light it bestows, 

Till the star smile again in its birthplace above; 

But oh! let me share the soft bloom of the rose , 

Yield, yield the warm heart to my cherishing love! 

f. s. o 


PRESAGE. 

SMALL CAPE MARYGOLD. 

The French have named this flower souci pluviatile , and in 
England it is distinguished by the name of pluvialis , because 
of its flowers closing on the approach of rain. It constantly 
opens at seven o’clock in the morning, and remains so till four 
in the evening, if the weather be dry. If it does not open, or 


AND FLOWERS OF POETRY. 153 

if it closes before the usual hour, we may be sure that there 
will be rain ere nightfall. 

Your lips are like the prophet-flower; — 

When thus they, quivering, close, my love; 

We’re sure to have a summer-shower, 

From the blue eyes that beam above. 

f. s. o. 


PRETENSION. 

WILLOW-HEJRB. 

This beautiful plant, which flourishes by the water’s side, 
seems to take pleasure in admiring itself in the crystal stream. 
For this reason it is compared to a vain woman, proud of her 
own charms. Mr. Loudon says that it is a thriving plant, and 
will grow anywhere, under the drip of trees, and in smoky 
cities, parks, &c., and is very showy when in flower. 

Some women deify a friend — 

Some grovel at the shrine of pelf — 

A few to Heaven in worship bend — 

Her idol is — her own sweet self! 

F. S. D. 


3S4 THE POETRY OF FLOWERS 


PROHIBITION. 

PRIVET. 

This shrub is one of the prettiest ornaments of our hedge- 
rows. Its spike-formed thyrsi of white monopetalous flowers, 
which in shape resemble those of the lilac in miniature, agree- 
ably perfume the hedges during the months of May and June ; 
while its deep purple shining berries garnish the spray of this 
shrub during the whole winter, affording food to the bullfinch 
and thrush, and a 

Fit dwelling for the feathered throng, 

Who pay their quit-rents with a song. 

Green. 

“Why,” said a young mother of a family to the pastor of 
the village, “did you not plant a strong palisade of thorns in the 
place of this hedge of flowering privet which surrounds your 
garden?” The pastor replied: “When you prohibit your son 
from joining in dangerous pleasures, the prohibition issues from 
your lips with a tender smile ; your look caresses him ; and, if 
he murmur, your maternal hand offers him a toy to console 
him ; so the pastor’s hedge ought not to injure, but while it 
keeps off those who would intrude, it should offer flowers though 
it repels them.” 

So soft is her sigh and so sweet is her smile, 

Even though she prohibits our pleasure the while — 
That pleasure is robbed of its charm by her voice, 

And e’en in her chiding we learn to rejoice. 

f. s. o. 


AND FLOWERS OF POETRY. 185 


PRUDENCE. 

SERVICE-TREE. 

October is drawn in a garment of yellow and carnation ; in his left 
hand a basket of services, medlars, and other fruits that ripen late. 

Peacham. 

Evert tree and every plant has a physiognomy which is 
proper to itself, and which seem to give it a character. The 
giddy almond-tree profusely puts forth its flowers in spring, at 
the risk of having no fruit for the autumn, while the service- 
tree never bears fruit until it has acquired full strength, and 
then its harvest is certain. For this reason it is made the em- 
blem of prudence. This beautiful tree retains is dazzling scar- 
let fruit throughout the winter ; when we see it shining a bril- 
liant contrast to the white mantle of snow which covers the 
earth. Its harvest can only be gathered in winter, and for that 
season Providence has reserved it for the use of the smaller 
birds. 

Beware of desperate steps! — the darkest day, 

Live till to-morrow, will have passed away. 

Cowper. 


4 PEERLESS AND PROUD. 

MAGNOLIA. 

« Or this splendid family of trees the American continent has 
many species. They are distinguished by their rich, smooth fo- 
liage, large, fragrant flowers, and aromatic bark. Some of 


186 


THE POETRY OF FLOWERS 


them are of very exalted stature, taking rank with the lighest 
tenants of the wood.” In the southern states, whole groves of 
the magnificent magnolia grandiflora are found scenting the air 
for miles around, with their rich and delicious fragrance. The 
large white leaf of the flower often serves the romantic southern 
youth for paper. He pricks upon it with a needle or pin the 
passionate thoughts of his heart, and commits his perfumed 
billetdoux to the care of zephyr to be wafted to the feet of his 
ladye-love. 


THE SOUTHERNER TO A YANKEE. 


What! write a burning billetdoux 
On common colored paper, 

And melt the wax to seal it, too, 
Within a tallow taper ! 

Not thus we woo our Georgian girls, 
They’d scorn so poor a letter; 

They’d twist with it their silken curls, 
And bid us write a better. 

We seek a sweeter, purer leaf, ■ 

To bear our passion to them ; 

Our vows are beautiful as brief; — 

I’ll tell you how we woo them. 

Deep in our southern forest-glooms, 

Our tempests proudly braving, 

The pure magnolia richly blooms, 

Its peerless blossoms waving. 


AND FLOWERS OF POETRY. 


1S7 


We pluck the leaf of perfumed snow, 

We trace love-verses on it, 

And as the quick thoughts breathe and glow, 
The flower makes sweet the sonnet ! 

We tell the maid it mocks, in hue, 

Her fair and virgin forehead; 

We say her lips’ delicious dew 
The blossom’s balm has borrowed. 

Our sweet appeal, in secret bower, 

We bid her con apart, 

And trace it on as fair a flower, 

Her own unsullied heart. 

’T is writ with plumes from Cupid’s wing — 
With passion’s kiss we seal it, 

Then free to Zephyr’s care we fling 
Our light and blooming billet! 

Well guarded from blockade and breach, 

Must be that heart unsleeping, 

Such fragrant vows would fail to reach, 

Or fail, when reached, in keeping ! 


f. s. o. 


1*8 THE POETRY OF FLOWERS 


PURITY AND MODESTY. 

WHITE LILT. 

Ye loftier lilies, bathed in morning’s dew 
Of purity and innocence, renew 
Each lovely thought. 

Barton. 

This delicate and beautiful flower has for centuries received 
its tribute of admiration from the lovers of nature. . Who has 
not felt a glow of delight in perusing that gorgeous description 
of the lily which Christ himself gave to his disciples ? “ Of 

ajl the poetry ever drawn from flowers, none is so beautiful, 
none is so sublime, none is so imbued with that very spirit in 
which they were made, as that of our Lord: ‘And why take 
ye thought for raiment ? Consider the lilies of the field, how 
they grow ; they toil not, neither do they spin ; and yet I say 
unto you, that even Solomon, in all his glory, was not arrayed 
like one of these. Wherefore, if God so clothe the grass of 
the field, which to-day is, and to-morrow is cast into the oven, 
shall he not much more clothe you, 0 ye of little faith !’ The 
sentiment built upon this entire dependance on the goodness of 
the Creator, is one of the lights of our existence, and could on- 
ly have been uttered by Christ; but we have here also the ex- 
pression of the very spirit of beauty in which flowers were cre- 
ated — a spirit so boundless and overflowing, that it delights to 
enliven and adorn with these riant creatures of sunshine the 
solitary places of the earth ; to scatter them by myriads over 
the very desert ‘ where no man is, on the wilderness where 
there is no man;’ sending rain ‘to satisfy the desolate and 
waste ground, and to cause the bud of the tender herb to spring 
forth.’” 

It is generally admitted that the white lily is a native of 
Palestine. The heathen nations consecrated it to Juno, contend- 
ing by their fable that it sprang from the milk of that goddess ; 


AND FLOWERS OF POETRY. 189 

- 

as we read that Jupiter, being desirous of raising Hercules to 
the rank of a divinity, induced Juno to drink deep of a cup of 
nectar, which threw the queen of the gods into a profound 
sleep. Jupiter placed Hercules at her rireast, that jfhe divine 
milk might enter his frame, and thus work his immortality. 
The infant was not able to swallow so rapidly as he drew the 
milk from her celestial breast, some drops of which falling on 
the earth, this flower sprang up from it; hence it has been call- 
ed Juno’s rose. 

In the Hebrew language the name Susannah signifies a lily ; 
and all nations agree in considering it the symbol of purity and 
modesty. 


How withered, perished, seems the form 
Of yon obscure unsightly root; 

Yet from the blight of wintry storm 
It hides secure the precious fruit. 

The careless eye can find no grace, 

No beauty, in the scaly folds, 

Nor see within the dark embrace 
What latent loveliness it holds. 

Yet in that bulb, those sapless scales, 

The lily wraps her silver vest, 

Till vernal suns and vernal gales 
Shall kiss once more her fragrant breast. 

Yes, hide beneath the mouldering heap, 
The undelighting slighted thing; 

There, in the cold earth, buried deep, 

In silence let it wait the spring. 


190 


THE POETRY OF FLOWERS 


Oh! many a stormy night shall close 
In gloom upon the barren earth, 

While still, in undisturbed repose, 

Uninjured lies the future birth; 

And Ignorance, with skeptic eye, 

Hope’s patient smile shall wondering view* 
Or mock her fond credulity, 

As her soft tears the spot bedew. 


Sweet smile of hope, delicious tear . 

The sun, the shower indeed shall come; 
The promised verdant shoot appear, 

And Nature bid her blossoms bloom. 


And thou, 0 virgin queen of spring ! 

Shalt, from thy dark and lowly bed, 
Bursting thy green shade’s silken string, 
Unveil thy charms, and perfume shed; 


Unfold thy robes of purest white, 
Unsullied from thy darksome grave, 
And thy soft petals’ silvery light 
In the mild breeze unfettered wave. 


So Faith shall seek the lowly dust 
Where humble sorrow loves to lie, 
And bid her thus her hopes intrust, 

And watch with patient, cheerful eye; 


AND FLOWERS OF POETRY. 191 

And bear the long, cold, wintry night, 

And bear her own degraded doom, 

And wait till heaven’s reviving light, 

Eternal spring ! shall burst the gloom. 

Mrs. Henry Tighe. 


RARITY. 

MANDRAKE. 

The ancients attributed great virtues to this plant ; but as 
they Dave not left any accurate description of it, we are ignor- 
ant what species they gave that name to. Our charlatans and 
mountebanks, profiting by the ignorance of the people, frequent- 
ly made different roots into the form of a little man, which they 
exhibited to the credulous, and sought to persuade them that 
these marvellous roots were the true mandrake, which are 
found only in one quarter of China, nearly inaccessible. They 
added that these mandrakes uttered the most lamentable cries, 
| closely resembling those of a human being, when their leaves 
were plucked after the night-dew had descended ; and that 
whosoever ventured to do it, was struck by death : — 

The phantom forms — oh! touch them not, 

That appal the murderer’s sight ; 

Lurk in the fleshy mandrake’s stem, 

That shriek when torn at night. 


- — - — — — 1 

192 THE POETRY OF FLOWERS 


RECONCILIATION. 

HAZEL. 

Why sit we not beneath the grateful shade, 

Which hazels, intermixed with elms, have made? 

Dryden. 

There was a time when men were not united by any com- 
mon tie. When the mother would deprive her son of the wild 
fruit with which he wished to appease his hunger, and if mis- 
fortune united them for a moment, the sudden sight of an oak 
laden with acorns, or a beech covered with beech-mast, render- 
ed them enemies. At that period the earth was filled with 
horror ; there was no law, no religion, no language ; man was 
utterly ignorant of his nature — his reason slept, and he was 
often seen more cruel than the ferocious beasts whose frightful 
howling he imitated. 

According to ancient mythology, the gods had pity on the hu- 
man race. Apollo and Mercury exchanged presents, and came 
down upon the earth. The god of harmony received from the 
son of Maia a tortoise-shell, of which he had made a lyre, and 
gave in return a branch of hazel, which had the power of ma- 
king virtue beloved, and of reuniting hearts divided by hatred 
and envy. Thus armed, the two sons of Jupiter presented 
themselves to men. Apollo first sang that eternal Wisdom 
which had created the universe; he told how the elements were 
produced, and how every part of nature was united by the 
sweet bonds of love; and, finally, he taught men that they 
should appease the anger of the gods by adoration and praise. 
At his voice, pale and trembling mothers were seen advancing 
with their little children in their arms; hunger was suspended, 
and the thirst for vengeance fled from every heart. Then 
Mercury touched mankind with the wand Apollo had given to 
him. He loosened their tongues, and taught them to express 
their thoughts by words : he afterward told them that union 


AND FLOWERS OF POETRY. 193 


made strength, and that nothing could be derived from the 
earth without mutual labours. Filial piety and patriotic love 
were brought into action, by his eloquence, to unite the human 
race ; and commerce he made the bond of the world. His last 
thought was the most sublime, for it was consecrated to the 
gods; and he told mankind that they might become equal with 
the gods by deeds of love and beneficence. 

Ornamented with two light wings, and serpents entwining 
themselves around it, the hazel-wand, presented to the god of 
eloquence by the god of harmony, is still, under the name of 
Mercury’s wand, the symbol of peace, commerce, and reconcil- 
iation. 

As letters some hand hath invisibly traced, 

When held to the flame, will steal out on the sight, 

So many a feeling that long seemed effaced, 

The warmth of a meeting like this brings to light. 

Moore. 


RESERVE. 

MAPLE. 

The maple is made the emblem of reserve, because it3 flow- 
ers are very slow in opening, and also fall with extreme 
tardiness. Hanbury observes, that when the flowers, which 
are of a fine yellow colour, are out in the spring, the tree has 
great beauty ; and in the autumn, the leaves die to a golden 
yellow hue, which produces a good effect when the various 
teints of the fading vegetable world are so universally displayed. 


K 


194 


THE POETRY OF FLOWERS 


If her feelings, those buds of the heart, 

Are slow their soft petals to part — 

Too timid to brook 
The world’s cold look ; 

And dreading the slanderer’s dart; — 

When once they unfold in perfume, 

They glow like the warm golden bloom 
Which the maple-tree shows, 

When its blossoms unclose, 

Like light in the deep forest-gloom. 

f. s. o. 


RESOLVE THE RIDDLE. 

THEM ELL A NOSTOC. 

The tremella is a gelatinous plant, which has occupied much 
of the naturalist’s attention, but as yet it has baffled research. 
It was very celebrated among the alchymists of old, who used 
it in the preparation of the philosopher’s stone and universal 
panacea, considering it as a fallen star. It seems, however, to 
render research fruitless, by being continually found in various 
analogous forms, which again resume their previous appearance. 

I They are generally found in the alleys of gardens, and in moist 
j pasture ; and sometimes, after a wet and rainy night, the 
earth in the thickets of the Tuileries has been observed to be 
j entirely covered. A few hours after sunrise they entirely dis- 
! appear. In short, we know nothing certain about this singular 
! plant : it is a secret of nature which resists our most persever- | 
j ing inquiries. 


AND FLOWERS OF POETRY. 195 

You say that my heart is a riddle to you; — 

Do you take enough interest in it, 

To find out its meaning ? — for oh ! if you do, 

As your proper reward, you shall win it! 

f. s. o. 


RETURN OF HAPPINESS. 

LILY OF THE VALLEY. 

Sweet flower o’ the valley, wi’ blossoms of snow, 

And green leaves that turn the cauld blast frae their stems ; 
Bright emblem o’ innocence, thy beauties I lo’e, 

Aboon the king’s coronet circled wi’ gems ! 

There’s no tinsel about thee, to make thee mair bright, 

Sweet lily ! thy loveliness a’ is thine ain, 

And thy bonnie bells, danglin’ sae pure and sae light, 

Proclaim thee the fairest o’ Flora’s bright train. 

This lowly plant loves the shelter of the hollow valleys, the 
shade of oaks, or the cool banks of streams. 

The lily, screened from every ruder gale, 

Courts not the cultured spot where roses spring. 

Ogilvie. 

In the earliest days of May its snowy flowers expand them- 
selves, and scatter their perfume in the air. Barton says : — 

The lily, whose sweet beauties seem 
As if they must be sought. 

And Thomson gives us a glimpse of a “ fair and bonnie spot,” 
where fairies might hold their revels : — 

I 


196 THE POETRY OF FLOWERS 


Seek the bank where flowering elders crowd, 

Where, scattered wide, the lily of the vale 
Its balmy essence breathes, where cowslips hang 
The dewy head, where purple violets lurk, 

With all the lovely children of the shade. 

Wordsworth, who delights to wander amid the green and 
flowery fields, to explore the valley, or scale the mountain’s 
loftiest height, has not forgotten this sweet flower: — 

That shy plant, the lily of the vale, 

That loves the ground, and from the sun withholds 
Her pensive beauty, from the breeze her sweets. 

And at this season the nightingale seeks its consort in the 
depths of the forests, where the echo in the solitude answers to 
his voice. Guided by the perfume of the lily of the valley, 
this charming bird chooses its retreat. There it celebrates, in 
its melodious song, the delights of solitude and of love; and 
the flower which every successive year announces to him the 
return of happiness. 

The “ Naiad-like lily of the vale, whose tremulous bells are 
seen through their pavilions of tender green,” should form a 
part of every wreath that crowns the happy, the innocent, and 
the gay. 

Blest meeting, after many a day 
Of widowhood passed far away, 

When the loved face again is seen, 

Close — close — with not a tear between — 
Confidings frank, without control, 

Poured mutually from soul to soul; 

As free from any fear or doubt, 

As is that light from chill or stain, 

The sun into the stars sheds out, 

To be by them shed back again! 


Moore. 


AND FLOWERS OF POETRY. 


ILLUSTRATION OF PLATE. 

Crmm Imperial and Turk's Cap Lilies. — Lily of the Valley. 
You have the power to restore me to happiness. 

Will you say no, dear, 

When soft and low, dear, 

Love pleads for love, which you only can give? 
Will you then fly me ? 

Can you deny me ? 

One little “yes” would allow me to live. 

Care hovers o’er me, 

Clouds, wild and stormy, 

Darken before me — but one smile of thine, 
Through sorrow’s haze, love, 

Softly can raise, love, 

Hope’s sunny rainbow — bright and benign! 

f. s. a 


r 2 


— — — 

198 TIIE POETRY OF FLOWERS | 


REWARD OF VIRTUE. 

A GARLAND OF ROSES. 

Let us crown ourselves with roses ere they be withered. 

Solomon's So^g. 

At Salency, in France, there is a festival of roses, instituted 
by St. Medard, bishop of Noyon. There is an annual assem- 
blage of young persons of both sexes, who elect for their queen 
of the day that maiden who is most worthy (and her worth 
must consist in the practice of social and domestic virtues) ; 
then they crown her amid loud rejoicings, and with solemn cer- 
emony. The simple splendour of those flowers, which are the 
crown of innocence, is at once its reward, encouragement, and 
emblem. It is a gentle ambition, whose utmost aim is a gar- 
land of roses. 

Roses seem to have been used in garlands among the ancient 
Egyptians ; for we read that when Ptolemy and Cleopatra en- 
tertained Cesar, and the noble Romans who attended him did 

With wreaths of nard the guests their temples bind, 

And blooming roses of immortal kin l. 

Rowe's Lucan. 


Yes! thou shalt wear 
The wreath we are merrily braiding, 
Of buds and blooms — 

The beautiful roses of spring. 

Amid the hair, 

Thy forehead of snow o’ershadowing, 
’Twill mock the blush, 

That steals to thy cheek as we sing ! 


AND FLOWERS OF POETRY. 199 

For thee we twine — 

For who could so gracefully wear it, 

As she, whose heart 
Is lovely and pure as the rose 1 
The wreath is thine — 

And the happiness — each of us share it*, 

For thou art so meek, 

No envy can mar thy repose! 

f. s. o. 


RICHES. 

CORN. 

We are assured by botanists that corn is nowhere found in 
its primitive state. It seems to have been confided by Provi- 
dence to the care of man, with the use of fire, to secure to him 
the sceptre of the earth. With com and with fire, all other 
gifts may be dispensed with or acquired. With corn alone we 
could nourish every domestic animal which affords flesh for our 
sustenance, shares our labours, and is in various ways servicea- 
ble to us. The pig, the hen, the duck, the pigeon, the ass, the 
sheep, the goat, the horse, the cow, the cat, and the dog; each 
renders him something in return for his care. We receive from 
each, according to nature, either eggs or milk, bacon or wool, 
various meats, or services. Corn is the first bond of society, 
because its culture and preparation for our use require great 
labour md reciprocal services. From its inest mable value, the 
ancients called the good Ceres the legislatrix. 

There are occasions when food is much more highly esteem- 
ed than the possession of riches. An Arab, wandering in the 
desert, had not tasted food for the space of two days, and saw j 


200 THE POETRY OF FLOWERS 


that he had reason to apprehend famine. In passing near a 
well, where the caravans stopped, he perceived a little sack 
on the sand. He took it up, saying, “God be praised, it is, I 
think, a little flour.” He hastened to open the sack, but at the 
sight of its contents, he cried, “ How unfortunate I am ! it is 
only some gold powder!” 

We shall extract from that delightful work, Howitt’s “Book 
of the Seasons,” a slight sketch of the harvest in England. 
“ The harvest is a time for universal gladness of the heart. 
Nature has completed her most important operations. She has 
ripened her best fruits, and a thousand hands are ready to reap 
them with joy. It is a gladdening sight to stand upon some 
eminence, and behold the yellow hues of harvest amid the 
dark relief of hedges and trees, to see the shocks standing 
thickly in a land of peace; the partly-reaped fields and the 
clear cloudless sky shedding over all its lustre. There is a sol- 
emn splendour, a mellowness and maturity of beauty, thrown 
over the landscape. The wheat-crops shine on the hills and 
slopes, as Wordsworth expresses it, ‘ like golden shields cast 
down from the sun.’ For the lovers of solitary rambles, for all 
who desire to feel the pleasures of a thankful heart, and to 
participate in the happiness of the simple and the lowly, now 
is the time to stroll abroad. They will find beauty and enjoy- 
ment spread abundantly before them. They will find the 
mowers sweeping down the crops of pale barley, every spiked 
ear of which, so lately looking up bravely at the sun, is now 
bent downward in a modest and graceful curve, as if abashed 
at his ardent and incessant gaze. They will find them cutting 
down the rustling oats, each followed by an attendant rustic who 
gathers the swath into sheaves from the tender green of the 
young clover, which, commonly sown with oats to constitute 
the future crop, is now showing itself luxuriantly. But it is 
in the wheat-field that all the jollity, and gladness, and pictu- 
resqueness, of harvest are concentrated. Wheat is more par- 
ticularly the food of man. Barley affords him a wholesome 
but much-abused potation ; the oat is welcome to the homely 
board of the hardy mountaineers, but wheat is especially and 


AND FLOWERS OF POETRY. 201 


everywhere the ‘ staff of life.’ To reap and gather it in, every 
creature of the hamlet is assembled. The farmer is in the 
field, like a rural king amid his people : 

Around him ply the reaper band 
With lightsome heart and eager hand, 

And mirth and music cheer the toil, 

While sheaves that stud the russet soil, 

And sickles gleaming in the sun, 
f Tell jocund autumn is begun. 

“ The labourer, old or young, is there to collect what he has 
sown with toil, and watched in its growth with pride ; the 
dame has left her wheel and her shady cottage, and, with sleeve- 
defended arms, scorns to do less than the best of them ; the 
blooming damsel is there, adding her sunny beauty to that of 
universal nature; the boy ctifs down the stalks which overtop 
his head ; children gleam among the shocks ; and even the un- 
walkable infant sits propped with sheaves, and plays with the 
stubble, and 

With all its twined flowers. 

Such groups are often seen in the wheat-field as deserve the 
immortality of the pencil. There is something, too, about 
wheat-harvest which carries back the mind and feasts it with 
. the pleasures of antiquity. The sickle is almost the only im- 
plement which has descended from the olden times in its pris- 
tine simplicity — to the present hour, neither altering its form, 
nor becoming obsolete, amid all the- ft «hions and improvements 
of the world. It is the same now as A was in those scenes of 
rural beauty which the scripture history, without any laboured 
description, often by a single stroke, presents so livingly to the 
imagination, as it was when tender thoughts passed 

Through the sad heart of Ruth, when sick for home. 

She stood in tears amid the alien corn; 


202 THE POETRY OF FLOWERS 


when the minstrel-king wandered through the solitudes of Pa- 
ran, or fields reposing at the foot of Carmel ; or, ‘ as it fell on a 
day, that the child of the good Shunamite went out to his fa- 
ther to the reapers. And he said unto his father, My head, my 
head ! And he said to a lad, Carry him to his mother. And 
when he had taken him, and brought him to his mother, he 
sat on her knees till noon, and then died.’ (2 Kings, iv. 18-20.) 
Let no one say it is not a season of happiness to the toiling 
peasantry; I know that it is. In the days of boyhood I have 
partaken their harvest labours, and listened to the overflowings 
of their hearts as they sat amid the sheaves beneath the fine 
blue sky, or among the rich herbage of some green headland 
beneath the shade of a tree, while the cool keg plentifully re- 
plenished the horn ; and sweet after exertion were the contents 
of the harvest-field basket. I know that the poor harvesters 
are among the most thankful contemplators of the bounty of 
Providence, though so little of it falls to their share. To them 
harvest comes as an annual festivity. To their healthful frames,* 
the heat of the open fields, Avhich would oppress the languid? 
and relaxed, is but an exhilarating glow. The inspiration of? 
the clear blue sky above, and of scenes of plenty around them ? 
and the very circumstance of their being drawn from their sev- 
eral dwellings at this bright season open their hearts, and give * 
a life to their memories ; and many an anecdote and history . 
from ‘ the simple annals of the poor,’ are there related, which 
need only to pass through the mind of a Wordsworth or a 
Crabbe, to become immortal in their mirth or wo.” » 


She had passed through the shadow and sunlight of Life, 
She had learned, in its storms, to exult and enaure, 
And her gentle reply, with sweet wisdom, was rife — 
“To me — there are none in the universe poor!” 

F. S. O. 


AND FLOWERS OF POETRY. 203 


SADNESS. 


DEAD LEAVES. 

As winter advances, the trees lose their verdure, after being 
despoiled of their fruits. The “fall of the leaf” is a pleasing 
period to all who love the study of nature, and seek to derive 
profit therefrom. James Montgomery has sung the falling leaf, 
and the lines contain sentiments so just that we introduce them 
here for the delight of our readers : — 

Were I a trembling leaf 
On yonder stately tree, 

After a season, gay and brief, 

Condemned to fade and flee ; 

I should be loath to fall 
Beside the common way, 

Weltering in mire, and spurned by all, 

Till trodden down to clay. 

Nor would I choose to die 
All on a bed of grass ; 

Where thousands of my kindred lie, 

And idly rot in mass. 

Nor would I like to spread 
My thin and withered face, , 

,In hortus siccus, pale and dead, 

A mummy of my race. 

No ! on the wings of air 
Might I be left to fly, 

I know not and I heed not where 
A waif of earth and sky! 

Or flung upon the stream, 

Curled like a fairy-boat j 

As through the changes of a dream, 

To the world’s end to float. 


204 


THE POETRY OF FLOWERS 


Who that hath ever been, 

Could r^ar to be no more? 

Yet who would tread again the scene 
He trod through life before? 

On, with intense desire, 

Man’s spirit will move on : 

It seems to die, yet, like heaven’s fire, 

It is not quenched, but gone. 

The sun now sheds on the foliage a pale yellow hue, and 
the poplar is tinged with discolored gold, while the acacia folds 
up its bright foliage, which the sun’s rays will expand no more. 
The birch-tree waves its long branches, already stripped of .or- 
nament^ and the fir, which preserves its green pyramids, bal- 
ances them proudly in the air. The oak is immovable — it re- 
sists the efforts of the wind to strip its stately head ; and the 
king of the forest refuses to shed its leaves until the ensuing 
spring. We are told that all these trees are moved by different 
passions; one bows profoundly as if it wished to render hom- 
age to him whom the tempest cannot move; another seems 
desirous of embracing its. companion, the support of its weak- 
ness; and while they mingle their branches together, a third 
seems universally agitated as though it were surrounded by en- 
emies. Often do we see fallen on the earth, having already 
lost their bright green verdure, clouds of dead leaves that cover 
the ground with a restless garment. We love to contemplate 
the storm that chases, agitates, disperses, and torments, these 
sad remains of a spring which can never return. 


We keep a rainbow all the time. 

Within our lattice low; 

Our vase is crowned with autumn-leaves , 

Through which the sun doth glow, 

Lighting up each transparent, gorgeous shade — 

Green, crimson, pjrple, gold — all blending in one oraid. 


F. S. O. 


AND FLOWERS OF POETRY. 205 * 


SECRET LOYE. 

MOTHERWORT. 

The clandestina grows at the foot of large trees, in moist and 
umbrageous places. Its pretty purple flowers are nearly always 
hidden under moss or dry leaves. 

' w w 

Yes! tell him — tell him I am well, 

Say that this cheek doth deeper glow, 

Than was its wont — but do not tell, 

’T is the heart's fever makes it so ! 

- And tjell him how my lip has curled, 

And named his name with idle smile; 

But do not tell him for the world, 

That tears were in mine eyes the while ! 

f. s. o. 


SOUL OF MY SOUL. 

VIRGINIAN JESSAMINE. 

! How many ravishing harmonies spring up on every side, from 
the association of plants with the animal creation ! Behold the 
Virginian jessamine, with its beautiful verdure and purple flow- 
ers? The humming-bird makes its nest in one of the leaves, 
which it rolls into the shape of a horn ; it finds its sustenance 
in the nectareous vessels of its red flowers, which are similar 
to those of the foxglove: and its little body, when resting on 


s 


206 THE POETRY OF FLOWERS 


the jasmine-flower, appears like an emerald set in coral. It is 
sometimes so tame or fearless that it may be taken with the 
hand. This little being is the soul and the life of the plant 
that cherishes it. 

Oh! the pet and the darling of nature — whose plume, 
Through the woods, like a sunbeam, doth playfully dart — 
The humming-bird ! bathing in dew and perfume, 

That hide in the crimson jasmine’s heart, 

While he blends, with the blossom, his own rich bloom, 
Till you hardly can tell them apart. 

f. s. o. 


SILENCE. 

WHITE ROSE. 

The god of silence was represented under the form of a 
young man, with one finger placed on his lips, and holding a 
white rose in the other hand. We are told that Love gave him 
this rose to secure his favour. The ancients sculptured a rose 
over the. doors of their festive halls, to interdict the guests from 
repeating anything that was spoken. Byron has rendered it 
sacred to the silence of the tomb. In the “ Bride of Abydos,” 
he says, that, o’er the tomb of Zuleika — 

A single rose is shedding 
Its lovely lustre, meek and pale ; 

It looks as planted by despair — 

So white, so faint, the slightest gale 

Might whirl the leaves on high. 


AND FLOWERS OF POETRY. 207 

Hush, sweet, hush! 

Let me read in your blush, 

All that you tremble and fear to tell; — 

Why should you speak, 

When that eloquent cheek 
And those soul-lit eyes can talk so well? 

f. s. o. 


SIMPLICITY. 

WILD OR DOG ROSE. 

The wild or common dog rose has been made the emblem of 
simplicity. It forms one of the principal flowers in the rustic’s 
bouquet. 

The wild rose scents the summer air, 

And woodbines weave in bowers, 

To glad the swain sojourning there, 

And maidens gathering flowers. 

Clare. 

Clemence Isaure, who instituted the floral games, awarded a 
single rose as the prize for eloquence. 

The standards of the houses of York and Lancaster were 
charged with the bearing of the wild rose. This flower was 
also stamped on the current coin of those days. 

Thou once wast doomed 
Where civil discord braved the field, 

To grace the banner and the shield. 

Fable of the Rcse. 


208 THE POETRY OF FLOWERS 

She clasps no golden zone of pride, 

Her fair and simple robe around — 

By flowing riband, lightly tied, 

Its graceful folds are bound : 

And thus attired — a sportive thing, 

Pure, loving, guileless, bright, and wild, 
Proud Fashion! match me in your ring, 

New England’s mountain-child! 

F. S. O. 


SINCERITY. 

FERN. 

“ Fern often affords an agreeable seat to lovers ; its ashes are 
used in the manufacture of glasses for the convivial party ; and 
all the world knows that love and wine make men sincere.” 

\ 

I dearly love a changing cheek, 

That glows or pales, as Feeling chooses, 

And lets the free hcart/frankly speak — 

Upon it what -the tongue refuses; 

Where eloquent blushes burn and fade, 

Rich with the wealth of warm emotion, 

Or starry dimples mock the shade, 

Like jewels in a restless ocean. 

F. S. O. 


AND FLOWERS OF POETRY. 209, 


SHARPNESS. 

BARBERRY. 

The fruit of the barberry is so very acid that birds will sel- 
dom eat them. The tree is armed with thorns, and the flowers 
are so irritable, that at the slightest touch all the stamina close 
around the pistil. Thus this tree bears all the characteristics 
of persons whose temper is sharp and irritable. 

r 

Now Fate preserve thee — lady fair! — 

I will not breathe the Frenchman’s prayer, 

Who to the maiden’s great alarm, 

Exclaimed : “ God pickle you, madame !” 

But “ Fate preserve thee !” — even as they, 

Our housewives notable, allay, 

With sugared sweets, an acid juice, 

And store it up for future use; — 

So “Fate preserve thee” or thou ’It stay, 
Unplucked, upon the parent-tree ; 

Like barberries only fit to be 
Packed in a gallipot away; 

Unless thy sharpness be effaced, 

Thou’rt far too sour to suit my taste. 

F. S. O. 


82 


210 THE POETRY OF FLOWERS 


SKILL. 

SPIDER-ORPHRYS. 

According to ancient fable Arachne was very skilful in spin- 
ning and weaving, and dared to defy Minerva in the exercise of 
those arts. The offended goddess changed the imprudent 
Arachne into a spider, which, according to Guillim, is free of 
the Weavers’ Company. The spider-orphrys closely resembles 
the insect which, under a hideous form, still retains its skill and 
address. 


He plucks the pearls that stud the dsep, 
Admiring beauty’s lap to fill; 

He breaks the stubborn marble’s sleep, 

And mocks his own Creator’s skill. 

Sprague. 


SLEEP OF THE HEART. 

WHITE POPPY. 

There poppies wh'te and violets, 

Alcippus on the altar sets 

Of quiet sleep ; and weaves a crown 

To bring the gentle godhead down. 

Fracastorio. 

An insipid oil is expressed from the grains of the white pop- 
py, which ca.ms the senses and provokes sleep. 

The palace of Somnus, who presided over sleep, was repre- 
sented as a dark cave, into which the sun’s rays never penetra- 


AND FLOWERS OF POETRY. 211 

ted ; at the entrance grew poppies and other somniferous herbs ; 
the Dreams watched over his couch, attended by Morpheus, his 
prime minister, holding a vase in one hand, and grasping pop- 
pies in the other. 

You can charm to sleep the physical powers, 

With the oil distilled from a poppy’s leaves; — 

Say, can your science find us flowers, 

Whose magic may hush a heart that grieves ? 

f. s. o. 


SMILE ON ME STILL. 

SUNFLOWER. 

Ta'e helianthus constantly turns toward the sun. In Peru 
the virgins of the sun wore an imitation of this flower, wrought 
in gold. 

Eagle of flowers ! I see thee stand, 

And on the sun’s noon-glory gaze, 

With eye like his!— thy lips expand, 

And fringe their disk with golden rays. 

S . Montgomery. 

Oh! the heart that has truly loved, never forgets, 

But as truly loves on to the close, 

As the sunflower turns on her god, when he sets, 

The same look that she turned when he rose. 

Moore. 


212 THE POETRY OF FLOWERS 


SMILES. 

CROCUS. 

Tins pretty flower blooms in early spring. Its colors are yel- 
low, purple, and white. 

Down in my solitude under the snow, 

Where nothing cheering can reach me ; 

Here, without light to see how to grow, 

I ’ll trust to nature to teach me. 

I will not despair — nor be idle, nor frown, 

Locked in so gloomy a dwelling ; 

My leaves shall run up, and my roots shall run down, 
While the bud in my bosom is swelling. 

Soon as the frost will get out of my bed, 

From this cold dungeon to free me, 

I will peer up with my little bright head, 

And all will be joyful to see me. 

Then from my heart will young petals diverge, 

As rays of the sun from their focus; 

I from the darkness of earth will emerge, 

A happy and beautiful Crocus! 

Many, perhaps, from so simple a flower, 

This little lesson may borrow, 

Patient to-day, through its gloomiest hour, 

We come out the brighter to-morrow. 

Miss H. F. Gould. 


AND FLOWERS OF POETRY. 



ILLUSTRATION OF PLATE. 


Pansies. — Broom. 

My heart would be at ease, if my solitude were blest with your 
society. 

If thou wert here, my fairy-queen ! 

With all thy graces, wiles, and spells, 

How soon would show this sylvan scene, 

What magic in thy presence dwells ! 

The crests of foam the wavelets wear, 

Would change to crowns of living pearl; 

And balm would he the ambient air, 

And radiant joy the sun, my girl ! 

F. S. O, 


214 THE POETRY OF FLOWERS 


SOLITUDE. 

HEATH. 

The foliage of this plant is evergreen, of varied and beauti- 
ful shapes, and on examination is found as pleasing as its sin- 
gular blossom. In our floral hieroglyphics it is made emblem- 
atical of solitude ; and thus, when the rustic lover offers his 
mistress a bouquet of heath and pansies, she understands that 
if his solitude were charmed by her society his heart would be 
at ease. 

There are now about four hundred different species of heath, 
of such variety of colours and forms that no pen can describe 
them. On some we observe little waxlike flowers, and others 
present us with pendent pearls ; some are adorned with coraline 
beads, while others seem to resemble the golden trumpet, or 
tempting berries, or porcelain of bell or bottle shape. Globes 
of alabaster hang on the slender spray of some, and others, 
again, remind us of Lilliputian trees, bedecked with Turkish 
turbans in miniature. “ Their colours are not less varied than 
their shape, while the foliage is equally beautiful in its apparent 
imitation of all the mountainous trees, from the Scottish fir to 
Lebanon’s boasted cedar.” 

A heath’s green wild lay present to his view, 

With shrubs and field-flowers decked of varied hue. 


Oh! to lie down in wilds apart, 

Where man is seldom seen or heard, 

In still and ancient forests, where 
Mows not his scythe, ploughs not his share, 
With the shy deer and cooing bird ! 


AND FLOWERS OF POETRY. 215 

To go in dreariness of mood, 

O’er a lone heath, that spreads around, 

A solitude like a silent sea, 

Where rises not a hut or tree, 

The wide-embracing sky its bound! 

Oh ! beautiful those wastes of heath, 

Stretching for miles to lure the bee, 

Where the wild bird, on pinions strong, 

Wheels round and pours his piping song, 

And timid creatures wander free. 

Mary Howitt. 


SORROWFUL REMEMBRANCES. 

FHE AS ANT’S-EYE, OR FLOS ADONIS. 

Look, in the garden blooms the flos adonis, 

And memory keeps of him who rashly died, 

Thereafter changed by Venus, weeping, to this flower. 

Anon. 

Adonis was killed by a boar when hunting. Venus, who 
had quitted the pleasures of Cythereus for his sake, shed many 
tears at his melancholy fate. The fable tells us that these 
were not lost, but mingling with the blood of Adonis, the earth 
received them, and forthwith sprang up a light plant covered 
with purple flowers. Brilliant and transient flowers; alas! too 
faithful emblems of the pleasures of life ! you were consecra- 


216 THE POETRY OF FLOWERS 

ted by the same beauty as the symbol of sorrowful remem- 
brances. 

By this the boy, that by her side lay killed, 

Was melted like a vapour from her sight ; 

And in his blood, that on the ground lay spilled, 

A purple .flower sprang up, chequered with white. 

SlIAKSPEARE. 

One fatal remembrance, one sorrow that throws 
Its bleak shade alike, o’er our joys and our woes; 

To which life, nothing darker or brighter, can bring, 
For which joy has no balm and affliction no sting! 

Moore. 


SPLENDOUR. 

LOBELIA. 

This brilliant flower is frequent in the southern and western 
parts of the United States. 

She Ftood ’mid the dazzling insignia of Wealth; 

But the jewels, that shone o’er her beauty and bloom, 
Were less fair than the sunny ray smiling by stealth, 
Through the rose-teinted damask, that curtained die room. 

r. s. o. 


AND FLOWERS OF POETRY. 217 


STRENGTH. 

FENNEL. 

A savoury odour blown, more pleased my sense 
Than smell of sweetest fennel, or the teats 
Of ewe, or goat, dropping with milk at even. 

Milton. 

The gladiators mingled this plant with their food, from a sup- 
position that it tended to increase their strength. After the 
games were over, the conqueror was crowned with a wreath of 
fennel. The Romans named the plant anethum. 


The wealth of rich feelings — the deep — the pure — 
With strength to meet sorrow and faith to endure. 

F. S. 0 


STOICISM. 

BOX. 

The tree box loves the shade, and will grow under the drip 
of trees. It maintains its verdant appearance in winter as well 
as summer. It requires no care, and endures for centuries. On 
account of its resistance to the changes of the seasons, and the 
power of time, it has been made the emblem of stoicism. 


T 


218 THE POETRY OF FLOWERS 

There is strength 

Deep bedded in our hearts, of which we reok 
But little till the shafts of heaven have pierced 
Its fragile dwelling. Must not earth be rent 
Before her gems are found? 

Mrs. Hemans. 

Strange heart of man ! that even ’mid wo swells high, 
When through the foam he sees his proud bark sweep, 
Flinging out joyous gleams to wave and sky ! 

Mrs. Hemans. 


SUSPICION. 

MUSHROOM. 

Many species of mushroom are known to be deadly poison. 
The Ostiacs, a Siberian tribe, make a preparation from the 
Agaricus muscarius, which will kill the most robust man in 
twelve hours. Several mushrooms in our country are almost 
as dangerous ; as there is a liquid hid within them of a nature 
so acrid, that a single drop put on the tongue will produce a 
blister. The Russians, during their long fasts, live entirely on 
mushrooms ; and are often thrown into violem convulsions in 
consequence. We regard them as a dainty dish, but we ought 
to use them with great caution. Before using them they should 
be exposed to the heat of boiling water; this will ascertain 
their quality, as it they are not of a good kind their perfume 
will be evaporated. 


AND FLOWERS OF POETRY. 219 

Better confide and be deceived, 

A thousand times, by treacherous foes, 

Than once accuse the innocent, * 

Or let suspicion mar repose. 

F. S. O. 


SWEET REMEMBRANCES. 

PERIWINKLE. 

L,; . ‘ - 

Through primrose tufts in that sweet bower, 

The periwinkle trailed its wreaths ; 

And ’tis my faith that every flower 
Enjoys the air that breathes. 

' WORDSW’ORTH. 

There is an agreeable softness in the delicate blue colour of 
the periwinkle, and a quietness in the general aspect of the 
flower, that appears to harmonize with the retired situations 
where it loves to grow. It prefers the shady banks of the 
grove, rather than to.meet the meridian sun in the society of 
the gay plants of the parterre. 

In France this flower has been made emblematical of the 
pleasures of memory from the circumstance of Rousseau’s say- 
ing, in one of his works, that, as he and Madame Warens were 
proceeding to Charmettes, she was struck by the appearance 
of some blue flowers in the hedge, and exclaimed, “ Here is the 
periwinkle still in flower.” He then tells us, that thirty years 
afterward, being at Gressier, with M. Peyron, climbing a hill, 
he observed some in blossom among the bushes, which bore his 
memory back at once to the time when he was walking with 
Madame Warens, and he inadvertently cried, “Ah! there is 
the periwinkle.” Rousseau relates this anecdote as a proof of 


220 THE POETRY OF FLOWERS 

the vivid recollection he had of every incident which occurred 
at a particular time of his life, and hence this flower is made 
to represent “ les doux souvenirs .” 

Oh! Memory, thou fond deceiver, 

Still importunate and vain, 

To former joys recurring ever, 

And turning all the past to pain. 

Thou, like the world, the oppressed oppressing 
Thy smiles increase the wretch’s wo ; 

And he who wants each other blessing, 

In thee must ever find a foe. 

Goldsmith. 

This plant attaches itself strongly to the earth, which it 
adorns; it encloses itself entirely with its flexible branches, 
which are covered with flowers that seem to reflect the colour 
of the sky. Thus our first sentiments are so lively, so pure, so 
innocent, that they seem to have a celestial origin ; they mark 
a period of momentary happiness, and they ought to be treas- 
ured up among our most endearing recollections. 

And thus as in Memory’s bark we shall glide 
To visit the scenes of our boyhood anew — 

Though oft we may see, looking down on the tide, 

The wreck of full many a hope shining through — 

Yet still, as in fancy we point to the flowers, 

That once made a garden of all the gay shore, 
Deceived for a moment, we ’ll think them still ours, 

And breathe the fresh air of life’s morning once more. 

Moore. 


AND FLOWERS OF POETRY. 


221 


SYMPATHY. 

THRIFT. 

The marygold above, to adorn the arched bar j 
The double daysie, thrift, the button batcheler. 

Drayton. 

The scientific name of this plant, statice , is derived from the 
Greek word arariicos ( statikos ), which expresses that which has 
the power to stop, unite, or retain. Next to box, it forms the 
prettiest border plant we know. The flowers of the thrift are 
small, numerous, turning toward the sun, and form pretty blue 
cups. To be seen to advantage they should be viewed through 
a microscope. The plant is cultivated for its modest beauty, 
but it grows naturally in marshy places, and especially by the 
seashore, where it binds the sands togetner by its numerous 
roots. This quality is the bond which unites man to his fellow- 
man, and, without it, each individual would be a distinct spe- 
cies by himself. 


Kindness by secret sympathy is tied; 

For noble souls in nature are allied. 

Dryden. 

Shame on those breasts of stone that cannot melt, 
In soft adoption of another’s sorrow! 


Aaron Hill. 


222 


THE POETRY OF FLOWERS 


THE HEART THAT KNOWS NOT 
LOVE. 

WHITE ROSEBUD. 

Untouched, upon its thorny 'Stem, 

Hangs the pale rose unfolding. 

Hurdis. 

Before the breath of Love animated the world, all the roses 
were white, and every heart was insensible. 

’Twas from Love, I borrowed, too, 

My sweet perfume, my purple hue. 

Anon. 

When Love was bom in Eden’s bower, 

The first soft blush of Eve was shed 
On a white rose — her emblem-flower — 

Which ever since has blossomed red! 

F. S. O. 


TIME. 

WHITE POPLAR. 

The white poplar is one of the most valuable of our indige- 
nous trees, and grows to the height of more than ninety feet, 
towering its superb head upon a straight silvered trunk. The 
ancients consecrated it to Time, because the leaves are in con- 


AND FLOWERS OF POETRY. 


223 


tinual agitation ; and being of a blackish green on the upper 
side, with a thick white cotton on the other, they were suppo- 
sed to indicate the alternation of the day and night. 

And Time, with a footstep soft and light, 

As the maiden’s own, went by that night. 

f. s. o. 


TIMIDITY. 

MARVEL OF PERU. 

This plant is called mirabilis, and with some degree of rea 
son, for it is a most admirable flower ; it expands its richly-dy- 
ed corollas at night, whence it has been named by the French, 
belle-de-nuit. 

It is universally considered to be the emblem of timidity, 
from its shunning the brilliant light of day, and only venturing 
to display its charms in the cool of the evening. 

The mimosa, or sensitive plant, has been assigned as the sym- 
bol of chastity and prudery, but we think it may be more prop- 
erly used as the sign of timidity; as it seems to fly from the 
hand that would touch it. At the least approach, the leaves 
shrink within themselves. ,- k The petiole then droops, and if the 
plant be low, it touches the earth. Even a cloud passing be- 
tween it and the rays of the sun, is sufficient to change the sit- 
uation of its leaves and the general aspect of the plant. 

Timidity, of all afraid, 

Her wreath of the mimosa braid. 


224 THE POETRY OF FLOWERS 

The blossom that bashfully shuns the daylight, 

An d yields all its sweetness and bloom unto night.. 

f. s. o. 


THANKFULNESS. 

AGRIMONY 

Agrimony is a pretty species of campanula, whose flowers 
of the most delicate lilac colour are suspended from the plant 
like little bells. The French commonly call it “ Religieuse des 
Champs and Madame de Chastenay says, in her Calendar of 
Flora : “ It is suspected that this has been called agrimony 
from the resemblance of its flowers to the hermit’s bell. For 
my own part I think that gratitude has given it the name of 
‘ Religieuse des Champs,’ in honour, probably, of some kind, 
tender, and beneficent Sister of Charity.” 

And the nuns used to dream, as they roamed about 
The convent-garden of St. Ursula, 

That, at matins and vespers, a peal rang out, 

From the fairy bells of the campanula. 

f. s. o. 


AND FLOWERS OF POETRY. 225 


THINK OF ME. 

PANSY", Oil HEART’S-EASE. 

pray you, love, remember, 

There ’s pansies — that ’s for thoughts. 

Shaicspeare. 


The teints of this flower are scarce less varied than the 
names that have been bestowed upon it. That of pansy is a 
corruption of the French name, pensee, thought. 

Leigh Hunt introduces the heart’s-ease into his verses : — 


The garden’s gem, 
Heart’s-ease, like a gallant bold, 
In his cloth of purple and gold. 


Phillips observes that the most brilliant purples of the artist 
appear dull when compared to that of the pansy ; our richest 
satins and velvets coarse and unsightly by a comparison of tex- 
ture; and, as to delicacy of shading, it is scarcely surpassed by 
the bow of Iris itself. 


Oh ! long may the blossom, whatever betide, 

The tenderest breath of the summer-wind win, 
And smile in its beauty, thy threshold beside, 


Bright symbol, sweet lady, of heart’s-ease within ! 

f. s. o. 



226 THE POETRY OF FLOWERS 


TRANQUILLITY. 

ROCK MADWORT. 

There is a gentle element, and man 
May breathe it with a calm unruffled soul, 

And drink its living waters, till his heart 
Is pure, and this is human happiness. 

Wilijs. 

This plant was esteemed by the ancients on account of its 
supposed power to allay anger. The species generally are 
showy plants, and of easy culture. The rock madwort is very 
ornamental early in the season. 

My heart is like a sleeping lake, 

Which takes the hue of cloud and sky, 

And only feels its surface break, 

When birds of passage wander by, 

Who dip their wings and upward soar, 

And leave it quiet as before. 

Willis. 


TREACHERY. 

BILBERRY. 

This species of whortleberry is an elegant and also a fruit- 
bearing plant. “ The young fresh green lea ves, and waxlike 
~ed flowers, appear in May, and toward autumn the leaves grow 
darker and firm, and the ripe berries are gathered in the north 


• AND FLOWERS OF POETRY. 227 


for tarts ;” and in the highlands they are eaten with milk ; and 
also in Derbyshire, where they are found in great quantities. 

The bilberry has been made the symbol of treachery from 
the following fable : “ (Enomaus, father of the beautiful Hip- 
podamia, had for his charioteer the young Myrtilus, son of 
Mercury. (Enomaus offered the hand of his daughter to any 
one who should outdo him in a chariot-race. Pelops, anxious' 
to obtain Hippodamia, bribed Myrtilus to overthrow his mas- 
ter’s chariot, and (Enomaus was killed. In dying, he cried for 
vengeance, when Myrtilus was changed into the shrub which 
has ever since borne his name.” 

Thou hast come — not to cherish — 

To win but my heart; — 

It is thine till it perish; — 

Now, trifler, depart’ 

f. s. o. 


TRUTH. 

BITTER-SWEET NIGHTSHADE. 

The ancients thought that truth was the mother of the vir- 
tues, the daughter of time, and the queen of the world. We 
moderns say that that divinity hides herself at the bottom of a 
well, and that she always mingles some bitterness with her 
sweets ; and we appoint for her emblem a useless plant that 
loves the shade and is ever clothed in green. The bitter-sweet 
nightshade is, we believe, the only plant in our climate, that 
sheds and reproduces its foliage twice in one year. Its roots 
smell somewhat like the potato, and being chewed, produce a 
sensation of bitterness on the palate, which is succeeded by 


228 THE POETRY OF FLOWERS 


sweetness. From this singular fact it derives its specific name, 
“bitter sweet.” 

Spring has passed and has left behind 
Perfumed gardens to scent the wind, 

And beautiful flowers that bless the eyes, 

With visions of a lost paradise: 

But thou art lovelier far than these, 

And owest no charm to sun or breeze: 

Their lifeless colours could never vie 

With the spirit that speaks in thy laughing eye. 

John Keese. 

I love a hand that meets mine own 
With grasp tnat causes some sensation j 
I love a voice whose varying tone 
From Truth has learned its modulation. 

F. S. O. 


UTILITY. 

GRASS. 

He causeth the grass to grow for the cattle, and herb for the ser- 
vice of man, that he may bring forth food out of the earth. 

Psalm civ. 14. 

It will be admitted tnat wnat is the most useful, is in nature 
the most common ; and of all vegetable productions, what is 


AND FLOWERS OF POETRY. 229 


there raoie common than grass? It clothes the earth with a 
verdant carpet, and it yields food — nay, it “grows for the cat- 
tle,” in obedience to the Creator’s word: — 

Let the earth 

Put forth the verdant grass, herb yielding seed, 

And fruit-tree yielding fruit after her kind, 

Whose seed is in herself upon the earth. 

He scarce had said, when the bare earth, till then 
Desert and bare, unsightly, unadorned, 

Brought forth the tender grass, whose verdure clad 
Her universal face with pleasant green ; 

Then herbs of every leaf, that sudden flowered, 

Opening their various colours, and made gay 
Her bosom, smelling sweet. 

Milton. 

Howit observes : “ When grasses of the larger species are 
collected and disposed tastefully, as I have seen them by ladies, 
in vases, polished horns, and over pier-glasses, they retain their 
freshness through the year, and form, with their elegantly pen- 
sile panicles, bearded spikes, and silken plumes, exceedingly 
graceful ornaments.” 


Lovely as useful — still this graceful grass 
Reminds me of the modest peasant-lass, 

Who blooms in lowly life — the kind and fair, 

Warmed by glad Nature’s sun and freshened by her ajr! 

f. s. o. 


V 


230 THE POETRY OF FLOWERS 


VARIE T Y. 

CHINA-ASTER. 

The China-aster is made the emblem of variety ; and owes 
its principal charms to a careful culture of the skilful gardener, 
who has surrounded its golden disks with every colour of the 
rainbow. So study produces an endless variety in the refine- 
ment of the human mind. Though majestic and brilliant, the 
China-aster is not the imprudent rival of the rose, but succeeds 
it, and consoles us for its absence. 

The greatest wonder, Mary, 

Is this, that while, to me, 

Your charms each moment vary, 

Your heart should constant be. 

f. s. o. 


VIRGIN PRIDE. 

GENTIANA FRITILLARIA. 

This exquisitely-delicate flower, folding its soft blue petals so 
modestly together, seems a fitting emblem of a young and love- 
ly girl, bashful or too proud for display. 

Her arms were folded on her breast, 

In purity and pride, 

With modest sweetness, when addressed, 

Her low soft voice replied. 

F. S. O. 


AND FLOWERS OF POETRY. 231 


WEAK BUT WINNING. 

MOSCHATEL. 

This plant, commonly called musk-crowfoot, emits an odour 
so light and agreeable, that it pleases even those who have a 
particular dislike to musk. It is minute, and by no means 
beautiful, and grows in obscure places. Its generic name is 
adoxa , which is derived from the Greek, and signifies inglorious. 

Oh! too convincing — dangerously dear — 

In woman’s eye, the unanswerable tear; 

That weapon of her weakness she can wield. 

To save, subdue — at once her spear and shield; 

Avoid it — virtue ebbs and wisdom errs, 

Too fondly gazing on that grief of hers ! 

What lost a world, and bade a hero fly ? 

The timid tear in Cleopatra’s eye. 

Yet be the soft triumvir’s fault forgiven, 

By this — how many lose — not earth — but heaven! 

Byron. 


WILL YOU PLEDGE ME? 

SIDESADDLE-FLOWER. 

The whole of this genus are plants of a very singular struc- 
ture. The Saracenia purpurea is the only one which endures 
our climate. The leaves are formed by a large hollow tube, 


232 THE POETRY OF FLOWERS 

swelling in the middle, curved and diminishing downward, till 
it ends in a stem, contracted at the mouth, furnished with a 
large, spreading, heart-shaped appendage at top, which is hairy 
within, the hairs pointing downward ; and a broad, wavy wing 
extending the whole length on the inside. The full-grown 
leaves will contain a wineglass of water, and are rarely found 
.empty. ' • 

Come, pledge me, sweet, in Adam’s cup, 

’Tis pure and fresh like thee: 

The wine that pleasure’s votaries sup 
Will stain the spirit free ; 

But here can be nor shade nor sin 
For you can see your face within! 

f. s. o. 


WIN ME AND WEAR ME. 
lady’s slipper. 

This plant is common in our northern woods. Its floweis, 
are yellow, purple, and white. 

I am not to be drawn off and on like the trifle, 

Whose name is bestowed on the blossom I send; 

My affections no dreaming romancer shall rifle, 

If our vows be not heart-hallowed — here let them end. 

F. S. O. 


AND FLOWERS OF POETRY. 233 


WISDOM. 

WHITE MULBERRY. 

The ancients named the white mulberry the tree of wisdom, 
because of its tardiness in putting forth its leaves. We say, 
“foolish almond, wise mulberry,” because the almond is the 
first to flower. A branch of almond, joined with a branch of 
white mulberry, expresses that wisdom should temper activity. 

“ This species of mulberry is commonly cultivated in France 
and other countries for its leaves, to feed silkworms ; and in 
many parts of the continent, when the leaves are wanted for 
the worms, they are stripped off the young shoots, which are 
left naked on the tree : in other places the shoots are cut off, 
which is not so injurious to the tree, while the points of the 
shoots as well as the leaves are eaten by the worms.” 

Oh, sacred solitude! divine retreat! 

Choice of the prudent ! envy of the great ! 

By thy pure stream, or in the waving shade, 

We court fair wisdom, that celestial maid! 

Young. 


YOUTHFUL CHARMS 

ROSEBUD. 

Who can say whether the white rose, or the red, the budding, 
or the full blown, has been most celebrated ? Oft, indeed, have 
all been sung ; and the rosebud, from its grace, and gradually- 
maturing beauty, has not been inappropriately made emblemat- 
ical of youthful charms. 



234 THE POETRY OF FLOWERS 

Alas! “ all that ’s bright must fade !” How true a picture of 
human life, and of the growth and decay of human beauty, is 
exhibited in the following lines by Jeremy Taylor: “But so I 
have seen a rose newly springing from the clefts of its hood: 
and at first it was fair as the morning, and full with the dew 
of heaven, as a lamb’s fleece; but when a rude breath had, 
forced open its modesty, and dismantled its youthful retirement,* 
it began to put on darkness, and decline to softness, and the 
symptoms of a sickly age came on ; it bowed its head and broke 
its stalk : and at night having lost some of it leaves, and all 
its beauty, it fell with the portion of weeds and outworn faces.” 


I pray thee do not blossom yet, 

My fairy rose — my pretty pet! 

Let not the wooing light and air 
Beguile those tender leaves apart, 

But keep thy wealth of incense there, 

"With Patience at thy blooming heart 

F. S. O. 

THE DYING ROSEBUD’S LAMENT. 

Ah me ! ah ! wo is me ! 

That I should perish now, 

With the dear sunlight just let in, 

Upon my balmy brow! 

My leaves, instinct with glowing life, 

Were quivering to unclose, 

My happy heart with love was rife; — 

I was almost a rose ! 

F. S. O. 


AND FLOWERS OF POETRY. 


235 


YOUR BLUSH HAS WON ME. 

AZALEA. 

This is an exceedingly beautiful shrub with rose-coloured 
flowers found in the woods of North America. 


I know a cheek whose blushes, 

As they trembling come and go, 

I could gaze upon for ever, 

If it did not pain thee so. 

f. s. o. 

Playful blushes, that seem naught 
But luminous escapes of thought. 

Moore. 


YOUR IMAGE ISENGRAVEN ON MY 
HEART. 

SPINDLE-TREE. 

This shrub bears the name of spindle because that article is 
most commonly made of its wood ; it is also used in the prep- 
aration of crayons. The sculptor and the turner value it high- 
ly. If the wood be useful to the arts, the shrub has claims to 
the esteem of the cultivator. The hedges which they orna- 
ment with rosy fruit have a very pretty effect in the autumn. 


236 


THE POETRY OF FLOWERS 


Love drew your picture in my “ heart of heart,” 
And memory preserves it beautifuJ 

f. s. o. 


YOUTH. 


WHITE LILAC. 

That lilac’s cleaving cones have burst, 

The milkwhite flowers revealing ; 

E’en now upon my senses first, 

Methinks their sweets are stealing. 

Blackwood's Magazine. 

On account of the purity and short duration of the delicate 
flowers of the white lilac, it has been made the symbol qf 
youth ; of that fleet and enchanting period which no wealth 
can purchase, nor power retain or restore. 


The hues of youth, 

Carnationed like a sleeping infant’s cheek, 

Rocked by the beating of her mother’s heart, 

Or the rose-teints, which summer’s twilight leaves 
Upon the lofty glacier’s virgin snow, 

The blush of earth embracing with her heaven — 
Tinge thy celestial aspect and make tame 
The beauties of the sunbow that bends o’er thee. 

Byron. 


AND FLOWERS OF POETRY. 


ILLUSTRATION OF PLATE. 

Mignionette. — Heliotrope. — Pink. 

Your qualities surpass your charms; I love you with a pure and de 
voted love. 

I know not if that face be fair, 

If what the world would beauty call, 

May beam and blush and brighten there, 

In lip and eye and ringlet’s fall: 

So richly eloquent through those eyes, 

Your souly of love and truth doth speak, 

So soft the timid heart-hues rise, 

In glowing witchery, on your cheek, 

That, whether it be fair or dark, 

Or they, the eyes, be black or blue, 

I never yet have cared to mark, 

Or marking, have forgot the hue: 

I only know — howe’er you smile, 

Whate’er your tresses’ teint or fashion, 

The graces of your mind beguile 
My heart to own a deathless passion. 

F. S. O. 


238 THE POETRY OF FLOWERS 


YOUR QUALITIES SURPASS YOUR 
CHARMS. 

MIGNIONETTE. 

No gorgeous flowers the meek reseda grace, 

Yet sip with eager trunk yon busy race 
Her simple cup, nor heed the dazzling gem 
That beams in Fritillaria’s diadem. 

Dk. Evans. 

The odour exhaled by this little flower is thought by some to 
be too powerful for the house. Linnseus compares its perfumes 
to those of ambrosia; and it is sweeter and more penetrating 
at the rising and setting of the sun than at noon. 

The mignionette has found its way into the armorial bearings 
of an ancient Saxon family ; and the follgwing romantic story 
is said to have introduced this fragrant little flower to the pur- 
suivant-at-arms : — 

The Count of Walstheim was the favoured aspirant for the 
hand of Amelia de Nordbourg, a young lady possessing all the 
charms requisite for the heroine of a modern novel, excepting 
that she delighted in exciting jealousy in the breast of her in- 
tended lord. As she was the only child of a widowed mother, 
a female cousin, possessing but little personal beauty, and still 
less fortune, had been brought up with her from infancy as a 
companion, and as a stimulus to her education. The humble 
and amiable Charlotte was too insignificant to attract much at- 
tention in the circles in which her gay cousin shone with so 
much splendour, which gave her frequent opportunities of im- 
parting a portion of that instruction she had received to the 
more humble class of her own sex. Returning from one of 
these charitable visits, and entering the gay saloon of her aunt, 
where her exit or entrance was scarcely noticed, she found the 
party amusing themselves in selecting flowers, while the count 


AND FLOWERS OF POETRY. 


1 

239 


and the other beaux were to make verses on the choice of each 
of the ladies. Charlotte was requested to make her selection 
of a flower; the sprightly Amelia had taken a rose, others a 
carnation, a lily, or the flowers most likely to call forth a com- 
I pliment ; and the delicate idea of Charlotte, in selecting the 
most humble flower, by placing a sprig of mignionette in her 
bosom, would probably have passed unnoticed, had not the 
flirtation of her cousin with a dashing colonel, who was more 
celebrated for his conquests in the drawing-room than the bat- 
tle-field, attracted the notice of the count so as to make his un- 
easiness visible, which the amiable Charlotte, ever studious of 
Amelia’s real happiness, wished to amuse, and to call back the 
mind of her cousin, demanded the verse for the rose. The 
count saw this affectionate trait in Charlotte’s conduct, took out 
his pencil, and wrote for the rose, 

Elle ne vit qu’un jour, et ne plait qu’un moment, 

which he gave to the gay daughter, at the same time present- 
ing the humble cousin with this line on the mignionette: — 

Ses qualites surpassent ses charmes. 

Amelia’s pride was roused, and she retaliated by her attention 
to the colonel, which she carried so far as to throw herself into 
the power of a profligate, who brought her to ruin. The count 
transferred his affections from beauty to amiability; and, rejoi- 
cing in the exchange, to commemorate the event which had 
brought about his happiness, and delivered 'him from a coquette, 
ne added a branch of the sweet reseda to the ancient arms of his 
family, with the motto : — 

Your qualities surpass your charms. 


Your soul is fairer than your face, 

Your genius brighter than your smile; 


240 THE POETRY OF FLOWERS 


Yet in your every outward grace, 

Is beauty that might well beguile, 
"Without the charm of heart and mind, 

An angel, in yon heaven enshrined. 

f. s. o. 


YOUR LOOKS FREEZE ME 

FICOIDES, OR ICE-PLANT. 

With pellucid studs the ice-flower gems 
His rising foliage, and his candied stems. 

Darwin. 

y 

The leaves of this singular plant are covered with transpa- 
rent vesicles full of water. When in the shade it seems to be 
gemmed with dewdrops; but when exposed to the burning sun, 
it appears scattered over with frozen crystals, which reflect 
with great brilliancy the rays of the sun * on this account it is 
commonly called ice-plant. 

The cold ifl clime are cold in blood, 

Their love can scarce deserve the name; — 

But mine was like the lava-flood, 

That boils in Etna’s breast of flame. 

Eyron. 


AND FLOWERS OF POETRY. 


241 


YOU ARE PERFECT. 

PINE- APPLE. 

The fruit of the pine-apple, surrounded by its beautiful leaves, 
and surmounted by a crown in which the germe of a plant is 
concealed, seems as though it were sculptured in massy gold. 
It is so beautiful that it appears to be made to please the eyes; 
so delicious that it unites the various flavours of our best fruits ; 
and so odoriferous that we«should cultivate it if it were only 
for its perfume. 

Keep, keep the maiden’s dowry, 

Her hand, her heart I claim, 

That little hand is more to me,' 

Than power, rank, or fame, 

That heart’s pure love is wealth, my lord, 

No more your coffers name! 

F. S. O. 


YOU ARE DAZZLING BUT DAN- 
GEROUS. 

SNAPDRAGON. 

The flowers of the snapdragon are sometimes of so vivid a 
scarlet, that we cannot look upon them with a fixed eye. 


T 


242 


THE POETRY OF FLOWERS 


Lips in whose rosy labyrinth, when she smiled, 

The soul was lost; and blushes, swift and wild, 

As are the momentary meteors sent 
Across the uncalm, but beauteous firmament; 

And then her look — oh! where’s the heart so wise, 
Could unbewildered meet those matchless eyes? 

Moore. 


YOU ARE MY DIVINITY. 

AMERICAN COWSLIP. 

Smile like a knot of cowslips on the cliff. 

Blair. 

The elegant stem of a single root of this plant springs from 
the centre of a rosette of large leaves crouched on the earth. 
In April it is crowned with twelve pretty flowers with the cups 
reversed. Linnseus has given it the name of “ Dodecatheon,” 
which signifies “ twelve divinities,” a name, perhaps, some- 
what too extravagant for a small plant so modest in its appear- 
ance. An American writer says of them, in their indigenous 
soil, that they resemble a cluster of bright yellow polyanthuses. 
“Our gold cowslips,” he adds, “look like a full branch of large 
clustering king-cups: they carelessly raise themselves on their 
i firm stalks, their corollas gazing upward to the changing spring 
sky, as they grow amid their pretty leaves of vivid green.: 
They adorn almost every meadow, and shed a glow of beauty 
wherever they spring.” 




AND FLOWERS OF POETRY. 


243 


One, who could change the worship of all climates, 
And make a new religion wherever she comes, 
Unite the differing faiths of all the world, 

To idolize her face. 

Dryden. 


YOUR FROWN I DEFY. 

ANEMONE. 

The delicate anemone hepatica is one of the earliest visiters 
m spring, flowering in sunny spots before the snow has left the 
ground. 


Your coldness I heed not, 

Your frown I defy, 

Your affection I need not ; 

The time has gone by, 

When a blush or a smile on that cheek could beguile 
My soul from its safety, with witchery’s wile ! 

Then, lady, look kindly, 

Or frown on me still, 

No longer all blindly 
I yield to your will! 

Too tightly you drew the light reins of command, 

And your victim is free — for they broke in your hand . 

f. s. o. 


FLOWERF . 


On ! they looked upward in every place 
Through this beautiful world of ours, 

And dear as a smile on an old friend’s face 
Is the smile of the bright, bright flowers ! 

They tell us of wanderings by woods and streams ; 

They tell us of lanes and trees ; 

But the children of showers and sunny beams 
Have lovelier tales than these — 

The bright, bright flowers ! 

They tell of a season when men were not, 

When earth was by angels trod, 

And leaves and flowers in every spot 
Burst forth at the call of God $ 

When spirits, singing their hymns at even, 

Wandered by wood and glade, 

And the Lord looked down from the highest heaven, 
And blessed what he had made — 

The bright, bright flowers ! 


That blessing remaineth upon them still, 

Though often the storm-cloud lowers, 

And frequent tempests may soil and chill 
The gayest of earth’s flowers. 

When Sin and Death, with their sister Grief, 

Made a home in the hearts of men, 

The blessing of God on each tender leaf 
Preserved in their beauty then — 

The bright, bright flowers i 

The lily is lovely as when it slept 
On the waters of Eden’s lake ; 

The woodbine breathes sweetly as when it crept 
In Eden from brake to brake. 

They were left as the proof of the loveliness 
Of Adam and Eve’s first home : 

They are here as a type of the joys that bless 
The just in the world to come — 

The bright, bright flowers ! 



The study of botany i3 one of the most interesting and de- 
lightful pursuits, in the whole range of science ; presenting to 
the contemplation of the pupil, a constant succession of sweet 
and charming forms, and affording him, in all seasons, an ele- 
vating and refined amusement. To him — on hill and dale — 
in every grove — by every fount and rill — wherever he goes 
— he finds a friend — with smiling face and balmy breath — 
that whispers a sweet lesson as he bends above it — a lesson of 
the wondrous power and love and wisdom of Him who “cloth- 
ed the lilies of the field.” 

In spring, the crocus lifts its golden crown to lay it at his feet, 
and the blue-eyed violet blesses him with its fragrant sigh : — 

Why better than the lady-rose 
Love I this little flower? 

Because its fragrant leaves are those 
I loved in childhood’s hour. 

Let Nature spread her loveliest, 

By spring or summer nursed; 

Yet still I love the violet best, 

Because I loved it first ! 


v 2 


In summer the rose — “ the lady rose’’ — the rich, the radiant 
— lavishes upon him its wealth of bloom and its inimitable 
odour ; and in autumn the lovely snowdrop ; — 

Thou beautiful new-comer, 

With white and maiden brow, 

Thou fairy gift from summer! 

Why art thou blooming now? 

No sweet companion pledges 
Thy health as dewdrops pass ; 

No rose is on the hedges, 

No violet in the grass ; 

Thou art watching, and thou only, 

Above the earth’s snow-tomb ; 

Thus lovely and thus lonely, 

I bless thee for thy bloom. 

Even winter has its gifts for him. He will find in the 
woods, among other treasures, the bramble-rose, the “tears of 
Job,” and the snow-white delicate blossoms of the “ farlry’s 
thimble:” — 

“What, the thimble of a fairy! and can a fairy sew?” 

Inquired a little, wondering girl — “oh! tell me if you know! 

Does she stitch together violet-leaves, to make her fragrant gown, 

And wad her cloak, to keep her warm, with flying thistle-down?” 

We now present to our readers a short chapter on botany on 
the Linnaean system. 


Every plant is either phenogamus cr cryptogam ous. Phenog- 
amous plants have their stamens and pistils sufficiently mani- 
fest for examination. Cryptogamous plants either lose their 
staminate organs before they become manifest, or they are too ! 
minute for inspection. 

The classes, orders, and genera, of the Linnrean system, are 


BOTANY. 247 

founded wholly on the seven elementary organs of fructification. 
These are : — 

1. Calyx. — The outer or lower part of the flower, generally 
green, or not coloured. 

2. Corol- — The coloured blossom, within or above the 
calyx. 

3. Stamens. — The mealy or glutinous knobs in the flower, 
with or without filaments. 

4. Pistil. — The central organ of the flower, whose base be- 
comes the pericarp and seed. 

5. Pericarp. — The covering of the seed, whether pod, shell, 
bag, or pulpy substance. 

6. Seed. — The essential part, containing the rudiment of a 
new plant. 

7. Receptacle. — The base which sustains the other six parts, 
being at the end of the flower-stem. 

Every calyx is either monophyllous, consisting of one leaf, 
or polvphyllous, consisting of more than one leaf. They are 
farther subdivided into — 1. Perianth. — That calyx which ad- 
joins and surrounds the other parts of the flower, as seen in the 
apple, rose, &c. About two thirds of all plants have perianths. 
2. Involucre. — That calyx which comes out at some distance 
below the flower, and never encloses it. Involucres are either 
universal, as in caraway, lovage, &c. ; or partial, as in corian- 
der; or proper, placed beneath a single flower. 3. Spaihe. — A 
kind of membrane, which at first encloses the flower, and after 
it expands, is left at a distance below it, as daffodil, onion, and 
Indian turnip. 4. Glume. — That kind of calyx which is com- 
posed of one, two, or three valves or scales, commonly transpa- 
rent at margin, and often terminated by a long awn or beard. 
All grasses have glume calyxes. 5. Ament. — An assemblage 
of flower-bearing scales, arranged on a slender thread or recep- 
tacle, each scale generally containing the lateral calyx of a 
flower, as in the willow, chestnut, pine, &c. 6. Calyptre. — The 

cap or hood of pistillate mosses, resembling, in form and posi- 
tion, an extinguisher set on a candle. Conspicuous in the com- 
mon haircap-moss. 7. Volva. — The ring or wrapper at firs* 


248 


BOTANY. 


enclosing the pileus or head of a fungus ; and which, after the 
plant has arrived at maturity, contracts and remains on the 
stem, or at the root. 

Every corol is either monopetalous, consisting of one petal 
or flower-leaf, or polypetalous, consisting of more than one. 
The monopetalous corols are divided into — 1. Bellform. — Hol- 
lowed out within the base, as gentian, Canterbury-bells, &c. 
2 .Funnel form. — With a tubular base and the border opening 
gradually like a tunnel, as in the thorn-apple and morning-glo- 
ry. 3. Salverform. — Having a flat spreading limb or border, 
proceeding from the top of a tube, as lilac, trailing arbutus, &c. 
4. Wheelform. — Having a spreading border without a tube, 
or with an exceeding short one, as borage and laurel. 5. Labi- 
ate. — It is divided into two general parts, somewhat resembling 
the lips of a horse or other animal. Labiate corols are either 
personate (with the throat muffled), as snapdragon; or ringent 
(with the throat open), as mint, motherwort, and catnip. Pol- 
ypetalous corols are divided into — 1- Cruciform. — Consisting 
of four equal petals spreading out in the form of a cross, as rad- 
ish, cabbage, mustard, &c. 2. Caryaphyllous. — Having five 

single petals, each terminating in a long claw, enclosed in a tu- 
bular calyx, as pink, catchfly, cockle, &c. 3. Liliaceous. — A 

corol with six petals, spreading gradually from the base, so as 
altogether to exhibit a bellform appearance, as tulip, lily, &c. 
4. Rosaceous. — A corol formed of roundish spreading petals 
without claws, or with very short ones, as rose, apple, straw- 
berry, &c. 5. Papilionaceous. — A flower which consists of a 

banner, two wings, and a keel, as pea, clover, &c. If a corol 
agrees with none of the above descriptions, it is called anomalous. 

The stamen is divided into — 1. Anther. — The knob of the 
stamen, which contains the pollen ; very conspicuous in the 

I lily, &e. Never wanting. 2. Pollen. — The dusty or mealy 
substance contained in the anthers. Never wanting. 3. Fila- 
; ment. — The part of the stamen which connects the anther with 
i the receptacle, calyx, cr pistil. Often wanting. 

The pistil is divided into — 1. Stigma. — The organ which 
terminates the pistil; is very conspicuous in the lily, and 


BOTANY. 249 


hardly distinguishable in the Indian corn. Never wanting. 

2. Germe. — That part of the pistil which, in maturity, becomes 
the pericarp and the seed, as in the cherry and pompion. Nev- 
er wanting. 3. Style. — That part of the pistil which connects 
the stigma and the germe; very conspicuous in the lily. 
Wanting in the tulip and some other flowers. 

The pericarp is subdivided into — 1. Silique. — That kind of 
pod which has a longitudinal partition, with seeds attached al- 
ternately to its opposite edges, as radish, cabbage, &c. 2. Le- 

gume. — A pod without a parti tioi , with the seeds attached to 
one suture only, as the pea. 3. Capsule. — That kind of peri- 
carp which opens by valves or pores and becomes dry when 
ripe, as in the poppy, which opens by pores, and the mullein by 
valves. 4. Drupe. — That kind of pericarp which consists of 
a thick fleshy or cartilaginous coat enclosing a nut or stone, as 
in the cherry, in which ; t is said to be berrylike ; and in the 
walnut, where it is dry. 5. Pome. — A pulpy pericarp, without 
valves, which contains within it a capsule, as apples, quinces, 
&c. 6. Berry. — Aipulpy pericarp enclosing seeds without any 

capsule, as curran t„*grape, cucumber, and melon. 7. Strobile. 
— An ament with woody scales, as the fruit of the pine. 

The seeds are subdivided into — 1. Cotyledon. — The thick 
fleshy lobes of seed's > very manifest in beans, whose cotyledons 
grow out of the gfotfnd in the form of two large succulent 
leaves. Many plahts* as Indian corn, wheat, the grasses, fee., 
have but one cotyledon. 2. Corcle. — The rudiments of the fu- 
ture plant, always proceeding from the cotyledon; easily dis- 
tinguished in chestnuts, acorns, &c. 3. Tegument. — The skin 

or °bark of seeds ; it separates from peas, beans, Indian corn, 
&c., on boiling. 4. Hilum. — The external mark or scar on 
seeds, by which they were affixed to their pericarps. In beans 
and the like it is called the eye. 

The receptacle is subdivided into — 1. Proper. — That which 
belongs to one flower only. 2. Common. — That which connects 
several distinct florets, as in the sunflower, daisy, and teasel. 

3. Rachis. — The filiform receptacle, connecting the florets in a 
spike, as in the heads of wheat. 4. Columnella. The central 


250 BOTANY 


column in a capsule to which the seeds are attached. 5. Spa- 
dix. — An elongated receptacle proceeding from a spathe, as In 
dian turnip. 

Flowers are divided into — 1. Simple. — Having a single 
flower on a receptacle, as in the quince, tulip, &c. 2. Aggre- 

gate. — Having on the same receptacle, several flowers, whose 
anthers are not united, as teasel, button-bush, &c. 3. Com- 

pound. — Having several florets on the same receptacle, with 
their anthers united, as sunfl >wer, China-aster. 4. Staminate. 
Having stamens, as those .in he tassels of Indian corn. Pistil- 
late. — Having pistils only, as the fertile flower of the cucum- 
ber. 6. Perfect. — Having both stamens and pistils. 7. Neu- 
tral. — Having neither stamens nor pistils. 

Inflorescence. — As to the manner in which flowers are situ- 
ated on plants, there are — 1. Whorl. -- In which the flowers 
grow around the stem in rings, one above another, as mother- 
wort and catnip. 2. Raceme. — Having the floret on short ped- 
icels, arranged along a general peduncle, as currants. 3. Pan- 
icle. — Having some of the pedicels along the general peduncle 
of the raceme, divided, as oats. 4. Thyrse. — A panicle con- 
tracted into a compact, somewhat ovate form, as in lilac. 
5. Spike. Having the florets sessile, or nearly so, on the elon- 
gated general receptacle, as wheat, mullein, &c. 6. Umbel. — 

Having the flower-stems diverging from one place like the bra- 
ces of an umbrella, bearing florets on their extremities, as car- 
rot, dill, fennel, &c. 7. Cyme. — It agrees with. the umbel in 

having its general flower-stem spring from one centre, but dif- 
fers in having those stems irregularly subdivided, as elder, &c. 
8. Corymb. — The peduncles take their rise from different 
heights along the main stem ; but, the lower ones being longer, 
they form nearly a level top, as yarrow. 9. Fascicle. — In 
general external appearance it resembles the umbel, but the 
footstalks are irregular in their origin and subdivisions, as the 
sweet-william. 10. Head. — The flowers are heaped together 
in a globular form, without peduncles, or with very short ones, 
as clover. 

The substance of roots and herbage consists of — 1. Cuticle. 


BOTANY. 


251 


— The thin outside coat of the bark, which seems to be with- 
out life, and often transparent ; very conspicuous in birch, &c. 
2. Cellular Integument. — Tne substance between the cuticle and 
bark ; often green, easily seen in the^lder. 3. Bark. — The inner 
strong fibrous part of the covering of vegetables. 4. Camb. — 
The mucilaginous substance, which, in the spring of the year, 
abounds between the bark and the wood of trees. 5. Wood. 

— The most solid part cfi the trunks and roots of trees and 
herbs. 6. Pith. — The spongy substance in the centre of the 
stems and roots of most plants. Large in the elder. 

Roots are the descending parts of vegetables, and are annual, 
lasting one year ; biennial , lasting two years ; and perennial, 
lasting many years. They are of seven sorts — 1. Branching. 

— The whole root being divided into parts as it proceeds down- 
ward, as the oak, &c. 2. Fibrous. — The whole root consisting 

of filiform parts, originating from the base of the stem, as ma- 
ny of the grasses. 3. Creeping. — Extending itself horizon- 
tally, and sending out fibrous radicles, as mint, gill- overground, 
6rc. 4. Spindle. — T hick at the top, and tapering downward, 
as carrot, parsnip, &c. 5. Tuberous. — Roots wh;ch are thick 

and fleshy, but not of a regular globular form ; they are knobbed , 
as the potato, oval, as those of orchis, abrupt, as the birdsfoot- 
violet, or fascicled , as asparagus. 6. Bulbous. — Fleshy and 
spherical ; they are either solid , as the turnip, coated, as the 
onion, or scaly, as the garden-lily. 7. Granulated. — Consist- 
ing of several little kncbs in the form of grains, strung together 
along the sides of a filiform radicle, as the wood-sorrel. 

The term herbage includes all the plant excepting the root 
and fructification. It includes the stems , leaves , and appenda- 
ges. Of stems, we have the tidge , as the trunk of the oak, 
grape-vine, mullein, &c. ; the culm, as the stem of wheat, gras- 
ses, sugarcane, &c. ; the scape, as the bare stem of the dande- 
lion ; the peduncle, as the flotver-bearing stem of the apple-tree, 
cucumber- vine; &c. ; th e petiole, the footstalk of the leaf; the 
frond, which applies entirely to cry p toga rnous plants; and in- 
cludes the substances from which the fruits are produced; the 
stipe, as the stem of a fern, of a fungus, a mushroom, &c. 


252. BOTANY. 


On the subject of leaves, including their forms, their edges, 
their ends, their surfaces, their positions, their character, as 
simple or compound, with their appendages, the reader is re- 
ferred to the writers on these points, and particularly to Thorn- 
ton’s “ Grammar of Botany, with Plates.” 

The Linnafian system of botany divides all plants into twen- 
ty-four classes, which are farther divided into orders, the orders 
into genera, and the genera into species containing varieties. 
The characters of the classes are taken from the number, 
length, connexion, or situation of the stamens. The Linnsean 
classes are twenty-four, but have been reduced to twenty, which 
have been thus arranged: — 

TABLE OF CLASSES. 

1. Monandria; one stamen; Indian flowering reed. 

2. Diandria ; two stamens ; speedwell, sage. 

3. Triandria ; three stamens ; saffron, the grasses. 

4. Tetrandia ; four stamens, equal in length ; teasel, plantain. 

5. Pentanjjria ; five stamens, anthers not united ; primrose, elm. 

6. Hexan'dria ; six stamens of the same length; daffodil, asparagus. 

7. Heptandria ; se 4 ven stamens; win tergreen, horse-chestnut. 

8. Octai*5>ria ; eigllt stamenp ; eardrop, willow-herb. 

9. Enneandria ; nine stamens ; laurel, flowering rush. 

10. Decandria ; ten stamens, filaments not united ; pink, wood-sorrel. 

11. DoDEttANDRiA ; twelve to nineteen stamens; houseleek, agrimony. 

12. Icosandria ; more than twelve stamens, fixed on the calyx or pe- 

tals y mountain-ash, plum. 

13. Polyaudria ; twenty to one thousand, fixed to the receptacle ; crow- 

foot, poppy, piony. 

14. Didynamia; four stamens, two long and two short; Virginian 

thyme, eyebright. 

15. Tetrodynamia ; six stamens, four long and two short ; mustard, 

horseradish. 

16. Monadelphia ; the filaments united ; geranium, mallow, cotton. 

17. Diadelphia; in one or two sets, blossom butterfly shaped; bush 

and pole bearv y pea. 

18. Polyadelphia ; in three or more sets; yarrow, mayweed, burdock. 

19. Syngenesia ; five stamens, anthers united, flowers compound ; la- 

dy’s*slipper, sunflower. 

20. Cryptogamia ; flowers with stamens obscure ; moss, fern, mush- 

room, liverwort. 


BOTANY. 


253 


As a general view of the orders in the Linnaean system, it is 
proper to remark that, in the fourteenth class, the orders depend 
upon the seeds having a seed-vessel or not. In the fifteenth 
class, they depend upon the shape or form of the seed-vessels. 
In the nineteenth class, they depend on the structure of the flo- 
rets. In the twentieth class, they depend upon the natural as- 
semblage of plants resembling each other. And in all the oth- 
er classes, excepting the sixteenth, seventeenth, and eighteenth, 
the orders depend upon the number of pistils only. To deter- 
mine the number of pistils, the styles must be counted, as they 
appear at their base ; but if the summits are not supported by 
styles, then count the number of the summits. 

The following is a brief view of the classes and orders in the 
Linnsean system*, with examples of each order : — 

I. MONANDRIA. 


Order — Monagynia, 

1 pistil, 

marestail, stonewort. 

Digynia, 

2 pistils, 

Indian weed, water-fennel. 

Tetragynia, 

4 pistils, 

pondweed. 


II. DIANDRIA. 

Order — M on agynia , 

1 pistil, 

Culver’s physic, privet. 

Digynia, 

2 pistils, 

sweet-vernal-grass. 


III. TRIANDRIA. 

Order — Monagynia, 

1 pistil, 

redroot, wild-vine. 

Digynia, 

2 pistils, 

redtop-grass, orchard grass. 

Trigynia, 

3 pistils, 

succulent chickweed. 

Enneagynia, 

9 pistils, 

blackberried heath. 


IV. TETRANDRIA. 

Order — Monagynia, 

1 pistil, 

white dogwood, button-bush 

Digynia, 

2 pistils, 

witch-hazel, toadgrass. 

Trigynia, 

3 pistils, 

pondweed, box. 

Tetragynia, 

4 pistils, 

evergreen holly. 


V. PENTANDRIA. 


Order — Monagynia, 
Digynia, 
Trigynia, 
Tetragynia, 
Pentagynia, 
Polygynia, 

Order — Monagynia, 


pistil, tomatoes, thorn-apple, 

pistils, carrot, slippery-elm. 

pistils, sumach, blackberried elder, 

pistils, grass of Parnassus, 

pistils, angelica, flax, shotbush. 

many pistils, mouse-ear. 

VI. IIEXANDRIA. 

1 pistil, common tulip. 


W 


254 

BOTANY. 

Ordef — Trygynia, 

3 pistils, 

Indian poke, veratrum. dock. 

Pentagynia, 

5 pistils, 

marsh-rosemary. 

Polygynia, 

many pistils, 

water-plantain 

* 

VII. HEPTANDRIA. 

Order — Monagynia, 

1 pistil, 

horsechestnut, chick- wintergreen. 


VIII. OCTANDRIA. 

Order — Monagynia, 

1 pistil, 

maple, cranberry, willow-herb. 

Digynia, 

2 pistils, 

feverfew, garden chrysanthemum. 

Trigynia, 

3 pistils, 

buckwheat, golden saxifrage. 

Tetragynia, 

4 pistils, 

waterwort, herb-paris. 


IX. ENNEANDRIA. 

Order — Monagynia, 

1 pistil, 

sassafras, spice-bush. 

Digynia, 

2 pistils, 

dog-mercury. 

Trigynia, 

3 pistils, 

rhubarb. 

Hexagynia, 

6 pistils, 

flowering-rush. 


X. DECANDRIA. 

Order — Monagynia, 

1 pistil, 

prince’s pine, wild indigo. 

Digynia, 

2 pistils, 

sWeet-william, London pride. 

Trigynia, 

3 pistils, 

spurge, stickwort. 

Pentagynia, 

5 pistils, 

live-for-ever, wood-sorrel. 


XI. DODECANDRIA. 

Order — Monagynia, 

1 pistil, 

white snakeroot. 

Digynia, 

2 pistils, 

agrimony. 

Trigynia, 

3 pistils, 

euphorbia-spurge. 

Dodecagynia, 

12 pistils, 

houseleek. 


XII. ICOSANDRIA. 

Order — Moqagynia, 

1 pistil, 

peach, plum. 

Digynia, 

2 pistils, 

queen of the meadow. 

Trigynia, 

3 pistils, 

mountain-ash. 

Pentagynia, 

5 pistils, 

pear, thorn-bush. 

Polygynia, 

many pistils, 

rose, raspberry. 


XIII. POLYANDRIA. 

Order — Monagynia, 

1 pistil, 

May-apple, bloodroot. 

Digynia, 

2 pistils, 

St.-Jolin-wort. 

Trigynia, 

3 pistils, 

larkspur. 

Pentagynia, 

5 pistils, 

monkshood, columbine. 

Polygynia, 

many pistils, 

goldthread, purple virgin’s bean. 


XIV. DIDYNAMIA. 

Order — Gymnospermia, seeds uncovered, motherwort, spearmint. 

Angiospermia, seeds covered, snapdragon, snakehead’d foxglove 


XV. TETRADYNAMIA. 

Order — Siloculosa, 

pouch, or broad pod, horseradish, peppergrass. 

Siliquosa, 

long pod, 

turnip, wall-flower. 

The flowers of this class have always four petals. 


BOTANY. 255 J 

XVI. MONADELPHlA. 

Order — Triandria, 5 stamens, blue-eyed grass, juniper. 

Decandria, 10 stamens, bloody-geranium, cranesbill. 

Polyandria, many stamens, hollyhock, mallows. 

In this class the filaments are together at the bottom, but separate at 
the top. 

XVII. DIADELPHIA. 

6 stamens, co J ic-weed, fumitory. 

8 stamens, milkwort, flowering wintergreen. 

10 stamens, upine, common pea. 

XVIII. POLYDELPHIA. 

common St.-John-wort. 

XIX. SYNGENESIA. 

Order — Polygamia equalis ; florets furnished with stamens and pistils ; 
dandelion. 

Polygamia superflua; florets in the centre with stamens 
and pistils, in the circumference pistils only; southern- 
wood, artemisia. 

Polygamia frustanea ; florets in the centre, with stamens and 
pistils, '.hose in the circumference without any ; sunflower, 
blessed thistle. 

Polygamia necessaria ; florets in the centre, with stamens and 
pistils, but producing no seed — the pistils on the outside 
only having seed ; marygold. 

Polygamia segregata ; separate florets ; globe thistle. 

This class comprehends the flowers called compound, theii anthers 
being united. 

XX. CRYPTOGAMIA. 

This class consists of those plants, in which the fructifications are ob- 
scure ; and, therefore, do not fall under any of the preceding classes and 
orders. They have been divided into six orders : — 

1. Miscellanea; including plants incapable of arrangement, as the 

horsetail. 

2. Felices, or ferns ; well known, as the spleenwort and polypody. 

3. Musci, or the family of mosses ; well known. 

4. Algae-; comprising plants scarcely admitting of a division into root, 

stem, and leaf, such as lichens and seaweed. - 

5. Fungi ; as funguses, comprising mushrooms, toadstools, &c. 

6. Hepaticae ; mosses distinguished from common mosses by a di Ter- 

ence in the fructification. 

Having given this brief view of the Linnaean division of the 
vegetable kingdom into classes and orders, the next thing to be 


Order — Hexandria, 
Octandria, 
Decandria, 

Order — Polyandria, 


256 


BOTANY. 


noticed is, that plants are farther divided into genera, and 
species , with their varieties. By species we understand indi- 
viduals which compose the genera, or general family; and each 
of which has a specific name. And the genus comprehends 
several species, so essentially different in formation, nature, and 
some adventitious qualities, from other plants, as to constitute 
a distinct family or kind. To illustrate this distinction, we may 
refer to the fact, that, in the human race, some are distinguish- 
ed from all others by a generic or family name, as Smith, White, 
Brown, &c. But, in order to identify individuals in these fami- 
lies or genera, we have to give a specific name to each individ- 
ual : thus, when we refer to individuals or species in these fam- 
ilies, we say, John Smith, Thomas Smith; or John White, 
Thomas White ; or John Brown, Thomas Brown, &c. Thus 
we have the genus in the family name, and the species in the 
name of the individual. It is just so in plants ; the genus or 
family name rosa includes all roses ; the genus salix or willow 
comprehends all willows ; and the genus iris or flag includes 
all the flags. 

The marks upon which the genera of plants are founded, are 
always taken from the shape, position, number, or some other 
property of the different parts of the flower, as the calyx, pe- 
tals, seeds, seed-vessels, &c., as whether they be round, or 
heartshaped ; whole, or divided ; rough, or smooth ; single, or 
many ; and the like. But the marks by which the species or 
individuals are known, are formed upon the leaves, stems, roots, 
or any other parts of the plant, except the flower. 


FLORAL DICTIONARY. 


A. 

Acacia : Platonic or Chaste Love. 
Acalea: Temperance. 

Acanthus - : The Arts. 

Achilla Millefolia : War. 
Aconite-leaved Crowfoot, or Fair 
Maids of France : Lustre. 

African Marygold : Vulgar Minds. 
Agnus Castus : Coldness ; to live 
without Love. 

Agrimony : Thankfulness. 
Almond-Tree : Indiscretion, Heed- 
lessness. 

Almond-Laurel: Perfidy. 

Aloe: Imagination. 

Althaea Frutex: Persuasion. 
Alyssum (Sweet) : Worth beyond 
Beauty. 

Amaranth: Immortality. 
Amaryllis: Haughtiness, Pride. 
Ambrosia: Love returned. 
American Cowslip: You are my 
Divinity. 

American Elm : Patriotism. 
American Linden : Matrimony. 
American Starwort : Welcome to a 

Stranger. 

Anemone : Your Frown I defy. 


Anemone (Field) : Sickness. 
Anemone (Garden) : Forsaken. 
Angelica: Inspiration. 

Angrec: Royalty. 

Apocynum: Falsehood. 
Apple-Blossom : Preference ; Fame 
speaks him great and good. 

Arum or Wake-Robin : Ardour. 

A Roseleaf: I will not trouble you. 
Asclepias : Cure for the Heart- 
ache. 

Ash: Grandeur. 

Ash-leaved Trumpet-Flower: Sep- 
aration. 

Aspen-Tree : Lamentation. 
Asphodel : My regrets follow you to 
the Grave. 

Auricula: Painting. 

Azalea : Y our Blush has won me. 

B. 

Bachelor’s Button : I with the Mor- 
ning’s Love have oft made Sport. 
Balm of Gilead : Healing ; a Cure 
| Balm (Gentle) : Pleasantry, 
j Balsam: Impatience. 

Barberry : Sharpness, Sourness. 
Basil: Hatred. 


258 FLORAL DICTIONARY. 


Bay-Berry: instruction. 

Bay-Leaf: I change but in dying. 
Bay- Wreath: Reward of Merit. 
Bear’s-Breech : Art. 

Beech: Prosperity. 

Belvidere : I declare against you. 
Bee-Ophrys: Error 
Be tony: Surprise. 

Bilberry : Treachery. 

Birch: Gracefulness. 

Bindweed: Humility. 

Bird-Cherry: Hope. 

Bird’s-Foot Trefoil: Revenge. 
Bearded Crepis : Protection. 

Black Poplar : Courage. 
Black-Thorn : Difficulty. 
Bladdemut-Tree: Frivolous Amuse- 
ments. 

Blue-Bottle Centaury : Delicacy. 
Blue-Flowered Greek Valerian: 
Rupture. 

Blue Canterbury Bell : Constan- 
cy. 

Bonus Henricus : Goodness. 

Borage : Bluntness or Roughness of 
Manners. 

Box: Stoicism. 

Bramble : Envy. 

Branch of Currants : You please all. 
Branch of Thorns : Severity, Rig- 
our. 

Broken Straw: Dissension, Rup- 
ture. 

Broom : Mirth, Neatness. 

Bryony: Prosperity. 

Buckbean : Flattery’s Smile ; Calm 
Repose. 

Bud of a White Rose : A Heart ig* 
norant of Love. 

Burgloss: Falsehood. 

Burdock: Importunity. 

Bundle of Reeds with the'r Pani 
cles: Music. 

, Buttercups: Ingratitude. 


Butterfly-Ophrys : Gayety. 
Butterfly-Weed: Let me go. 

C. 

Cabbage : Profit. 

Calla (AEthiopica) : Feminine Mod- 
esty. 

Calycanthus : Benevolence. 
Camomile : Energy in Adversity. 
Campanula : Gratitude. 

Canary-Glass : Perseverance. 
Candy-Tuft : Indifference. 
Canterbury Bell (Blue) : Constan- 
cy. 

Card.amine : Paternal Error. 
Catesby’s Starwort: Afterthought. 
Cardinal’s Flower : Distinction. 
Catalpa-Tree : Beware of the Co- 
quette. 

Catchfly: Snare. 

Cedar of Lebanon: Incorruptible. 
Cedar-Tree : Strength. 

Checkered Fritillary: Persecution. 
Cherry-Tree : Good Education. 
Cherry-Blossom: Spiritual Beauty. 
Chestnut-Tree : Do me Justice. 
China-Aster, or Chinese Starwort: 
Variety: 

China or Indian Pink : Aversion. 
China or Monthly Rose: Beauty 
ever new. 

Chinese Chrysanthemum : Cheer- 
fulness under Adversity. 
Cinquefoil : Parental Love. 

Cistus, or Rock-Rose : Popular Fa- 
vour. 

Circsea : Fascination. 

Clematis: Artifice. 
Clove-Gillyflower : Dignity. 

Coboea: Gossip. 

Cock’s Comb, or Crested A maranfh: 
Singularity. 

Colchicum or Meadow-Saffron : My 
best Days are past. 


FLORAL DICTIONARY. 259 


Coltsfoot : Justice shall be done 
you. 

Columbine : Folly. 

Common Cactus, or Indian Fig: I 
bum. 

Common Fumitory : Spleen. 
Common Milfoil : War. 

Common Reed : Complaisance. 
Common Thistle : Importunity. 
Convolvulus Major : Extinguished 
Hopes. 

Convolvulus Minor : Night. 
Corchorus : Impatience of Absence. 
Corn: Riches. 

Cornelian Cherry-Tree : Durability. 
Coreopsis : Love at first Sight. 
Coriander : Concealed Merit. 
Coronilla : Success crown your 
Wishes. 

Cowslip: Pensiveness. 

Cranberry: Hardiness. 

Creeping Cereus : Horror. 

Crocus : Smiles, Cheerfulness. 
Cross of Jerusalem: Devotion. 
Crown Imperial : Majesty and Pow- 
er. 

Cuckoo-Pink: Ardour. 

Cyclamen: Diffidence. 

Cypress: Mourning. 

Cypress and Marygold : Despair. 
Cypress-Tree: Death and eternal 
Sorrow. 

D. 

Daffodil : Deceitful Hope. 

Dahlia: Heartless Beauty; Insta- 
bility. 

Daisy: Innocence. 

Daisy (Garden) : I partake your 
Sentiments. 

Daisy (White) : I will think of it. 
Damask Rose : Freshness of Com- 
plexion. 

Dandelion: Oracle. 


Daphne Odora: Sweets to the 
Sweet. 

Darnel, or Ray Grass : Vice. 
Dew-Plant : A Serenade. 

Dead Leaves : Sadness. 

Dignity in Misfortune: Rosebay. 
Dittany: Birth. 

Dodder: Baseness. 

Dragon-Plant: Snare. 

Dried Flax: Utility. 

E. 

Ebony: Hypocrisy. 

Elder: Zealousness 
Elm: Dignity. 

Enchanter’s Nightshade : Fascina- 
tion, Witchcraft. 

Endive : Frugality. 

Eupatorium: Delay. 

Evergreen : Poverty. 
Evergreen-Thorn: Solace in Ad- 
versity. 

Everlasting: Never ceasing Remem- 
brance. 

Everlasting Pea : Lasting Pleasure. 

F. 

Fennel: Strength. 

Fern : Sincerity. 

Fern (Flowering) : Revery. 

Fig: Argument. 

Fig-Tree : Prolific. 

Filbert : Reconciliation. 

Fir : Time. 

Fir-Tree : Elevation. 

Flax : I feel your kindness. 
Flax-leaved Goldy-Locks : Tardi- 
ness. 

Flora’s Bell: You are without Pre- 
tension. 

Flower of an Hour : Delicate Beau- 
ty. 

Flowering Reed : Confidence in 
Heaven. 


260 FLORAL DICTIONARY. 

Forget-me-not : True Love. 

Hellebore: Calumny. 

Fairy’s Glove, or Foxglove : I am 

Hemlock: You will cause my 

not changed — they wrong me. 

Death. 

Frankincense : The Incense of a 

Henbane: Imperfection. 

faithful Heart. 

Hepatica: Confidence. 

Fraxinella: Fire. 

Hibiscus : Delicate Beauty. 

French Honeysuckle : Rustic Beau- 

Hickory: Glory. 

ty. 

Hoarhound: Frozen Kindness . 

French Marygold : Jealousy. 

Holly: Foresight. 

Frog-Ophrys: Disgust. 

Hollyhock: Fecundity. 

Full-blown Eglantine : Simplicity. 

Honesty: Honesty. 

Fullers’ Teasel : Austerity. 

Honeysuckle : Bond of Love. 

Hop: Injustice. 

Lr. 

Hornbeam: Ornament. 

Garden Chervil : Sincerity. 

Horse-Chestnut : Luxury. 

Garden Marygold : Uneasiness. 

Hortensia : You are cold. 

Garden Ranunculus: You are rich 

Houstonia: Content. 

in Attractions. 

Hoya: Sculpture. 

Garden Sage : Esteem. 

Hundred-leaved Rose: Graces. 

Garland of Roses : Reward of Vir- 

Hyacinth: Grief. 

tue. 

Kydranger: Boaster. 

Gentiana Fritillaria : Virgin Pride. 

Geranium (Sorrowful) : Melancho- 

I. 

ly Spirit. 

Iceland Moss: Health. 

Gilly-Flower: Lasting Beauty. 

Ice-Plant: Your Looks freeze me. 

Glory-Flower: Glorious Beauty. 

Indian Cress : Resignation. 

Goats’ Rue : Reason. 

Indian Jasmine : I attach myself to 

Golden Rod : Precaution 

you. 

Gorse: Cheerfulness in Adversity. 

Iris: Message. 

Goosefoot : Goodness. 

Ivy: ITiendship. 

Grape (Wild) : Charity. 

J. 

Grass : Utility. 

Great Bindweed : Dangerous Insin- 

Jacob’s Ladder:. Come down to 

uation. 

me. 

Guelder Rose : Winter or Age. 

H. 

Japan Rose : Beauty is your only 
Attraction. 

Jessamine, or Jasmine : Amiability. 

Harebell : Delicate and lonely as 

Jessamine (Virginian) : Soul of my 

this Flower. 

Soul. 

Hawkweed : Quicksightedness. 

Jonquil: Desire. 

Hawthorn : Hope. 

Judas-Tree : Unbelief. 

Hazel: Reconcliation. 

Juniper : Protection 

Heath: Solitude. 

Justicia : The Perfection of Female 

| Helenia: Tears. 

Loveliness. 


FLORAL DICTIONARY. 


251 


K. 

Kennedia : Mental Beauty. 
King-Cup : I wish I was rich. 

L. 

Laburnum : Pensive Beauty. 

Lady’s Slipper: Win me and wear 
me. 

Larch : Boldness. 

Larkspur : Levity. 

Laurel: Glory. 

Laurustinus : I die if neglected. 
Lavender: Assiduity. 

Lemon : Zest. 

Lettuce : Coldhearted. 

Lichen : Solitude. 

Lilac : First Emotion of Love. 
Lilac (White) : Youth. 

Lily of the Valley: Return of Hap- 
piness. 

Lime or Linden Tree: Conjugal 
Love. 

Live Oak : Liberty. 

Lobelia: Splendour. 

Locust: Vicissitude. 

London-Pride : Frivolity. 
Lotus-Flower: Silence. 

Love in a Mist : Perplexity. 

Love in a Puzzle : Embarrassment. 
Love lies a-Bleeding: Hopeless, 
not Heartless. 

Lucern: Life. 

Lupine : Voraciousness. 

Lychnis: Religious Enthusiasm. 
Lythrum: Pretension. 

M. 

Madder: Calumny. 

Madwort (Rock) : Tranquillity. 
Maiden-Hair: Discretion, Secrecy. 
Maize : Plenty. 

Magnolia: Peerless and Proud. 
Mallow: Mild or sweet Disposition. 
Manchineel-Tree: Falsehood. 


Mandrake: Rarity. 

Maple : Reserve. 

Marjorum: Blushes. 
Marshmallow: Humanity. 

Marvel of Peru : Timidity. 
Marygold: Inquietude. 

Marygold (Small-Cape): Presage. 
May Rose : Precocity. 

Meadow Saffron: My best Days 
are past. 

Meadow-Sweet: Uselessness. 
Mercury: Goodness. 
Mesembryanthemum : Idleness. 
Mezereon : Love in a Snow-Wreath. 
Michaelmas Daisy : Farewell. 
Mignionette: Your Qualities sur- 
pass your Charms. 

Milk-Vetch : Your Presence softens 
my Pain. 

Mimosa : Sensitiveness. 

Mint: Virtue. 

Mistletoe : I surmount all Difficul- 
ties. 

Mock Orange : Counterfeit. 

Monk’s Hood : Knight-Errantry. 
Moon wort : Forgetfulness. 
Moschatel : Wtak but winning. 
Moss (Tuft of) : Maternal Love. 
Moss-Rose: Pleasure without al- 
loy. 

Mossy Saxifrage: Maternal Love. 
Motherwort : Secret Love. 
Mountain-Ash: Prudence. 
Mouse-Ear Chickweed: Ingenious 
Simplicity. 

Moving Plant: Agitation. 
Mulberry-Tree (White) : Wisdom. 
Mulberry-Tree (Black) : I will not 
survive you. 

Mushroom: Suspicion. 
Musk-Crowfoot: Weakness. 
Musk-Rose : Capricious Beauty. 
Myosotis, or Mouse-Ear: Forget- 
me-not. 


262 FLORAL DICTIONARY. 

Myrobalan : Privation. 

Peruvian Heliotrope: I trust in 

Myrtle: Love. 

thee. 

N. 

Pheasant’s-Eye, or Flos Adonis : 
Sorrowful Remembrances. 

Narcissus (False) : Delusive Hope. 

Phlox: Unanimity. 

Narcissus (Poets’) : Egotism. 

Pimpernel: Assignation. 

Nasturtium: Patriotism. 

Pine: Pity. 

Nettle: Cruelty. 

Pine-Apple: You are perfect. 

Night-Blowing Cereus: Transient 

Pink : Lovely and pure Affection. 

Beauty. 

Plane-Tree: Genius. 

Nightshade (Bitter-Sweet) : Truth. 

Plum-Tree : Keep your Promises. 

Nosegay: Gallantry. 

Plum-Tree (Wild) : Independence. 

0. 

Polyanthus : Confidence. 

Potato : Beneficence. 

Oak: Hospitality. 

i Po megranate : Foolishness. 

Oats : The witching Soul of Music, 

Poppy : Consolation of Sleep. 

hers. 

Prickly Pear : Satire. 

Oleander: Beware. 

Pride of China : Discussion. 

Olive: Peace. 

Primrose: Early Youth. 

Orchis: A Belle. 

Primrose (Evening) : Inconsiancy. 

Orange-Flowers : Chastity. 

Privet : Prohibition. 

Orange-Tree : Generosity. 

Purple Clover: Provident. 

Osier: Frankness. 

Pyramidal Bell-Flower : Gratitude. 

Ox-Eye : Obftacle. 

Pyrus Japonica : Fairies’ Fire. ' 

P. 

Q. 

Palm: Victory. 

Quamoclet : Busybody. 

Pansy, or Heart’s-Ease : Think of 

Queen’s Rocket: You are the 

me. 

Queen of Coquettes. 

Parsley : Entertainment, Feasting. 
Passion-Flower : Religious Super- 

R. 

stition. 

Ragged Robin : Wit. 

Patience Dock : Patience. 

Ranunculus : You are radiant wi th 

Pasque-Flower: You are without 

Charms. 

Pretension. 

Red Bay : Love’s Memory. 

Pea : An appointed Meeting. 

Red Mulberry : Wisdom. 

Peach-Blossom : I am your Captive. 

Red Shanks : Patience. 

Pennyroyal : Flee away. 

Rest-Harrow: Obstacle. 

Peony : Bashful Shame. 

Rhododendron: Danger. 

Pepper-Plant: Satire. 

Rocket . Rivalry. 

Periwinkle : Sweet Remembrances. 

Rose* Beauty. 

Persimon: Bury me amid Nature’s 

Rose (Wild) Simplicity. 

Beauties. 

Rose (Acacia): Elegance. 

Persicaria : Restoration. 

Rosebud: Youthful Charms. 


FLORAL DICTIONARY. 263 


Roses (A Garland of) : Reward of 
Virtue. 

Rosebay Willow-Herb: Celibacy. 
Rose Campion: You are without 
Pretension. 

Rosemary: Your Presence revives 
me. 

Rose scented Geranium: Preference. 
Rudbeckia : Justice. 

Rue : Grace or Purification. 

Rush: Docility. 

S. 

Saffron-Flower: Excess is Danger- 
ous. 

Saffron Crocus : Mirth. 

Sage : Esteem. 

Sardony: Irony. 

Scabius : Unfortunate Attachment. 
Scarlet Fuchsia : Taste. 

Scarlet Ipomoea, or Indian Jasmine : 

I attach m'yself to you. 

Scotch Fir: Elevation. 

Sensitive Plant : Timidity. 
Serpentine Cactus: Horror. 
Service-Tree : Prudence. 

Shaking Saintfoin : Agitation. 
Siberian Crab-Tree-Blossom: Deep- 
ly interesting. 

S desaddle Flower : Will you pledge 
me ? 

Silver Fir : Elevation. 

Small Bindweed : Obstinacy. 

Small White Violet : Candour and 
Innocence. 

Snapdragon : You are dazzling but 
dangerous. 

Snowball : Thoughts of Heaven. 
Snowdrop : Consolation. 

Sorrel : Wit ill-timed. 
Southern-Wood : Jest or bantering. 
Spanish Jasmine : Sensuality. 
Spider-Ophrys : Skill. Adroitness. 
Spide-wort: Transient Happiness. 


Spindle-Tree : Your Image is en- 
graven on my Heart. 

Spiked Speedwell : Resemblance. 
Spirse Hypericum Frutex: Useless- 
ness. 

Squirting Cucumber : Critic. 
St.-John’s-wort: Superstitious Sanc- 
tity. 

Star of Bethlehem : The Light of 
our path ; Follow me. 

Stock, or Gilly Flower: Lasting 
Beauty. 

Stramonium j(Comrhon) : Disguise. 
Strawberry : Perfect Excellence. 
Striped Pink : Refusal. 

Sumach: Splendour. 

Sunflower : Smile on me still. 
Swallowwort : Medicine. 

Sweet Briar, or Eglantine: Poetry. 
Sweet Flag: Fitness. 

Sweet Pea : Delicate Pleasure. 
Sweet Soltan: Felicity. 
Sweet-scented Tussilage : You shall 
have Justice. 

Sweet Violet : Modesty. 
Sweet-William : Craftiness. 
Sycamore: Woodland Beauty. 
Syringa: Memory. 

T. 

Tamarisk: Crime. 

Tansy : Resistance. 

Teasel: Misanthropy. 
Ten-Weeks’-Stock : Promptitude. 
Thistle: Austerity. 

Thorn-Apple : Deceitful Charms. 
Thrift: Sympathy. 

Throatwort : Neglected Beauty. 
Thyme : Activity. 

TremellaNostoc : Resolve the Rid- 
dle. 

Truffle: Surprise. 

Tiger-Flower : For once may Pride 
befriend me. 


264 FLORAL DICTIONARY. 


Tree of Life : Old Age. 

Tuft of Moss : Maternal Love. 
Tulip : Declaration of Love. 
Turnip: Charity. 

V. 

Valerian (Red) : Accommodating 
Disposition. 

Various-coloured Lantana : Rigour. 
Verbena: Sensibility. 

Vernal Grass : Poor but happy. 
Vervain : Enchantment. 

Venus’s Car: Fly with me. 

Venus’s Flytrap: Have I caught 
you at last. 

Venus’s Looking-Glass : Flattery. 
Vine: Iutoxication. 

Violet: Modesty. 

Virgin’s Bower : Artifice. 

Virginian Spiderwort: Momentary 
Happiness. 

Volkamenica Japonica: May you 
be happy. 

W. 

Wall-Flower: Fidelity in Adversi* 
ty. 

Wall-Speedwell: Fidelity. 
Water-Lily: Eloquence. 

Walnut: Intellect. 

Walking-Leaf: How came you 
here ? 

Watermelon : Bulkiness. 
Water-Star : Beauty combined with 
Piety. 

Wax-Plant : Susceptibility. 


Wax-Myrtle : I will enlighten you. 
Weeping- Willow: Melancholy. 
Wheat: Riches. 

White Jasmine : Amiableness. 
White Lilac: Youth. 

White Lily : Purity and Modesty. 
White Mullein : Good Nature. 
White Oak : Independence. 

White Pink : Talent. 

White Poplar : Time. 

White Poppy: Sleep of the Heart. 
White Rose : Silence. 

White Rose (Dried) : Death prefer- 
able to Loss of Innocence. 

White Rosebud: The Heart that 
knows not Love. 

White Violet : Candour. 

Wild or Dog Rose: Simplicity 
Willow: Forsaken. 

Willow-Herb : Pretension. 
Winter-Cherry : Deception 
Witch-Hazel: A Spell. 
Wood-Sorrel : Joy. 

Wormwood : Absence. 

Y. 

Yarrow : War. 

Yellow Carnation: Disdain. 

Yellow Day-Lily : Coquetry. 
Yellow Gentian : Ingratitude. 
Yellow Iris : Flame. 

Yellow Rose: Infidelity. 

Yew: Sorrow. 

Z. 

Zinnia: Absence. 




4 


FLORAL DICTIONARY. 


265 


A. 

A Belle: Orchis. 

Absence: Wormwood, Zinnia. 
Accommodating Disposition: Red 
Valerian. 

Activity: Thyme. 

Afterthought: Catesby’s Starwort. 
Agitation : Moving Plant. 
Amiability: Jessamine, or Jasmine. 
An appointed Meeting : Pea. 
Ardour: Cuckoo-Plant ; Arum, or 
Wake-Robin. 

Argument: Fig. 

Art : Bear’s-Breach. 

Artifice : Virgin’s Bower: Climatis. 
A spell: Witch-Hazel. 

Assiduity: Lavender. 

Assignation: Pimpernel. 
Attachment : Scarlet-flowered Ipo- 
moea. 

Austerity: Fullers’ Teasel; This- 
tle. 

Aversion : China or Indian Pink. 

B. 

Baseness: Dodder. 

Bashful Shame : Peony. 

Beauty: Rose. 

Beauty combined with Piety : Wa- 
ter-Star. 

Beauty ever new : China or Month- 
ly Rose. 

Beauty is your only Attraction : 

Japan Rose. 

Beneficence: Potato. 

Benevolence : Calycanthus. 

Beware : Oleander. 

Beware of the Coquette: Catalpa- 
Tree. 

Birth: Dittany. 

B 1 .ntness of Manners : Borage. 
Brushes: Marjorum. 

Boaster: Hydranger. 

Boldness : Larch. 


Bond of Love : Honeysuckle. 
Bulkiness: Watermelon. 

Bury me amid Nature’s Beauties: 
Persimon. 

Busybody: Quamoclet. 

C. 

Calumny: Hellebore, Madder. 
Candour and Innocence : Sweet 
White Violet. 

Capricious Beauty : Musk-Rose. 
Celibacy : Rosebay Willow-Herb. 
Charity : Wild Grape, Turnip. 
Chastity : Orange-Flower. 
Cheerfulness : Crocus. 

Cheerfulness in Adversity : Chinese 
Chrysanthemum ; Gorse. 
Coldhearted : Lettuce. 

Coldness; To live without Love: 
Agnus Castus. 

Come down to me : Jacob’s Ladder. 
Complaisance : Common Reed. 
Concealed Merit : Coriander. 
Confidence : Hepatica, Polyanthus. 
Confidence in Heaven: Flowering 
Reed. 

Conjugal Love: Lime or Linden 
Tree. 

Consolation: Snowdrop. 
Consolation of Sleep : Poppy. 
Constancy: Canterbury Blue-Bell. 
Content: Houstonia. 

Coquetry: Yellow Day-Lily. 
Counterfeit : Mock Orange. 
Courage: Black Poplar. 

Craftiness : Sweet-William. 

Crime : Tamarisk. 

Critic : Squirting Cucumber. 
Cruelty: Nettle. 

Cure (A) : Balm. 

Cure for the Heartache : Asclepiaa 

D. 

Danger: Rhododendron. 


266 FLORAL DICTIONARY. 


Dangerous Insinuation : Great Bind- 
weed. 

Death and eternal Sorrow : Cypress- 
Tree. 

Death preferable to Loss of Inno- 
cence: White Rose (Dried). 
Deceitful Charms : Thorn-Apple. 
Deceitful Hope: Daffodil. 

Deception : Winter-Cherry. 
Declaration of Love : Tulip. 

Deeply interesting: Siberian Crab- 
Tree-Blossom. 

Delay : Eupatorium. 

Delicacy : Blue-Bottle Centaury. 
Delicate and Lovely as this Flower : 
Harebell. 

Delicate Beauty : Hibiscus. 

Delicate Pleasure : Sweet Pea. 
Delusive Hope : False Narcissus. 
Desire: Jonquil. 

Despair : Marygold and Cypress. 
Devotion: Cross of Jerusalem. 
Difficulty : Black Thorn. 

Diffidence : Cyclamen. 

Dignity : Clove-Gillyflower. 
Discretion, Secrecy: Maiden-Hair. 
Disdain: Yellow Carnation. 

Disguise : Common Stramonium. 
Disgust: Frog-Ophrys. 

Dissension : Pride of China. 
Dissension, Rupture : Broken Straw. 
Distinction: Cardinal’s Flower. 
Docility : Rush. 

Do me Justice : Chestnut-Tree. 
Durability : Cornelian-Cherry-Tree. 

E. 

Early Youth: Primrose. 

Egotism: Poets’ Narcissus. 
Elegance : Acacia Rose. 

Elevation: Fir-Tree. 

Eloquence: Iris, Water-Lily. 
Embarrassment : Love in a Puzzle. 
Enchantment : Vervain. 


Energy in Adversity: Camomile. 

Ennui : Moss. 

Entertainment, Feasting: Pardey. 

Envy: Bramble. 

Error: Bee-Ophrys. 

Esteem : Sage. 

Excess is Dangerous ; Saffron-Flow- 
er. 

Extinguished Hopes : Convovulus 
Major. 

F. 

Fair within, though cold in seem- 
ing : The Dew-Plant. 

Falsehood: Bugloss, Manchineel- 
Tree. 

Fancy’s Fire: Night-Blowing Cere- 
us. 

Fame speaks him great and good : 
Apple-Blossom. 

Farewell: Michaelmas-Daisy. 

Fascination : Enchanter’s Night- 
shade. 

Fecundity : Hollyhock. 

Felicity: Sweet Soltan. 

Feminine Modesty: Calla Ethiopi- 
ca. 

Fidelity: Wall-Speedwell. 

Fidelity in Adversity: Wall-Flow- 
er. 

Finesse : Sweet-William. 

Fire : Fraxinella. 

First Emotion of Love : Lilac. 

Fitness : Sweet Flag. 

Flame : Yellow Iris. 

Flattery’s Smile : Buclcbean. 

Flattery : Venus’s Looking-Glass. 

Flee away: Pennyroyal. 

Fly with me : Venus’s Car. 

Follow me ; The Light of our oath: 
Star of Bethlehem.. 

Folly : Columbine. 

Foolishness : Pomegranate. 

Foresight: Holly. 


FLORAL DICTIONARY. 267 


Forgetfulness : Moonwort. 

Forget me not : Myosotis or Mouse- 
Ear. 

For once may Pride befriend me : 
Tiger-Flower. 

Forsaken : Garden Anemone, Wil- 
low. 

Frankness: Osier. 

Freshness of Complexion : Damask 
Rose. 

Friendship : Acacia Rose ; Ivy. 
Frivolity : London Pride. 

Frivolous Amusements : Bladder- 
nut-Tree. 

Frozen Kindness : Hoarhound. 
Frugality: Endive. 

G. 

Gayety : Butterfly-Ophrys. 
Gallantry: Nosegay. 

Generosity : Orange-Tree. 

Genius: Plane-Tree. 

Glorious Beauty : Glory-Flower. 
Glory: Laurel. 

Good Education : Cherry-Tree. 
Good Nature : White Mullein. 
Goodness : Good Henry ; Goose- 
foot. 

Gossip : Cobcea. 

Graces : Hundred-leaved Rose. 
Gracefulness: Birch. 

Grandeur: Ash. 

Gratitude : Pyra nidal Bell-Flower. 
Grief: Hyacinth. 

H. 

Hardiness: Cranberry. 

Hatred : Basil. 

Haughtiness or Pride : Amaryllis. 
Have I caught you at last? Venus’s 
Flytrap. 

Healing; A Cure: Balm of Gilead. 
Health: Iceland Moss. 

Heartless Beauty: Dahlia. 


Honesty: Honesty. 

Hope: Hawthorn. 

Hopeless, not Heartless : Love lies 
a-Bleeding. 

Horror : Serpentine Cactus. 
Hospitality: Oak. 

How came you here? Walking- 
Leaf. 

Humanity: Marshmallow. 

Humility : Bindweed. 

Hypocrisy: Ebony. 

I. 

I am not changed — they wrong me : 

Fairy’s Glove, or Foxglove. 

I am your Captive : Peach-Blossom. 
I attach myself to you: Scarlet 
Ipomoea, or Indian Jasmine. 

I burn : Common Cactus. 

I change but in dying : Bay-Leaf. 

I declare against you : Belvidere. 

I die if neglected : Laurustinus. 
Idleness : Fig Marygold. 

I feel your kindness : Flax. 
Imagination: Aloe. 

Immortality : Amaranth. 
Impatience: Balsam. 

Impatience of Absence : Corchorus. 
Imperfection : Henbane. 
Importunity : Common Thistle, Bur- 
dock. 

Inconstancy: Evening Primrose. 
Incorruptible: Cedar of Lebanon. 
Independence: White Oak; Wild 
Plum-Tree. 

Indifference : Candy-Tuft. 
Indiscretion, Heedlessness : Al- 
mond-Tree. 

Infidelity: Yellow Rose. 

Ingenuous Simplicity: Mouse-Ear 
Chickweed. 

Ingratitude : Yellow Gentian ; But- 
tercups. 

Injustice : Hops. 


— ■ •— 

268 FLORAL DICTIONARY. 


Innocence : Daisy. 

Inquietude : Marygold. 

Inspiration : Angelica. 

Instruction : Bay-Berry. 

Intellect: Walnut. 

Intoxication: Vine. 

I partake your Sentiments : Garden 
Daisy. 

Irony: Sardony. 

; I surmount all Difficulties : Mistle- 
toe. 

I trust in thee : Peruvian Heliotrope. 
I will enlighten you : Wax-Myrtle. 
I will not survive you : Black-Mul- 
berry-Tree. 

I will not trouble you : A Roseleaf. 
I will think of it : White Daisy. 

I with the Morning’s Love have oft 
made Sport : Bachelor’s Button. 
I wish I was rich : King-Cup. 

I. 

Jealousy : French Marygold. 

Jest or bantering : Southern- Wood. 
Joy: Wood-Sorrel. 

Justice : Rudbeckia. 

Coltsfoot: Justice shall be done 
you. 

K. 

Keep your Promises : Plum-Tree. 
Knight-Errantry: Monk’s Hood. 

L. 

Lamentation : Aspen-Tree. 

Lasting Beauty : Stock, or Gilly- 
Flower. 

Lasting Pleasure : Everlasting Pea. 
Liberty : Live Oak. 

Life : Lucern. 

Let me go : Butterfly-Weed. 

Levity : Larkspur. 

Lively and pure Affection : Pink. 
Love : Myrtle. 


Love at first Sight ; Coreopsis. 

Love in a Snow-Wreath: Mezere- 
on. 

Love Returned : Ambrosia. 

Love’s Memory : Red-Bay. 

Love Match : London Pride. 

Lustre : Aconite-leaved Crowfoot. 

Luxury ; Horse-Chestnut. 

M. 

Majesty and Power : Crown Impe- 
rial. 

Maternal Love : Tuft of Moss. 

Matrimony: American Linden. 

May you be happy: Yolkamenica 
Japonica. 

Medicine : Swallowwort. 

Meekness with Dignity : Plumbago. 

Melancholy: Weeping-Willow. 

Melancholy Spirit : Sorrowful Ge- 
ranium. 

Memory: Syringa. 

Mental Beauty : Kennedia. 

Message : Iris. 

Mirth : Saffron Crocus ; Broom. 

Misanthropy: Teasel. 

Modesty: Violet. 

Momentary Happiness : Virginian 
Spiderwort. 

Mourning: Cypress. 

Music: Bundles of Reeds with 
Panicles. 

My best Days are past : Meadow- 
Saffron. 

My Heart bleeds for you : Camellia 
Japonica. 

My Regrets will follow you to the l 
Grave : Asphodel. 

N. 

Necessitude : Locust. 

Neglected Beauty : Throat wort. 

Never-ceasing Remembrance : Ev- 
erlasting. 


FLORAL DICTIONARY. 269 


Night : Convolvulus Minor, or Night 
Convolvulus. 

0 . 

Obstacle : Ox-Eye, Rest-Harrow. 
Obstinacy: Small Bindweed. 

Old Age : Tree of Life. 

Oracle : Dandelion. 

Ornament: Hornbeam. 

P. 

Painting: Auricula. 

Parental Love : Cinquefoil. 

Paternal Error : Lady's Smock. 
Patience: Red Shanks; Patience 
Dock. 

Patriotism: Nasturtium. 

Peace: Olive. 

Peerless and Proud : Magnolia. 
Pensive Beauty : Laburnum. 
Pensiveness: Cowslip. 

Perfect Excellence : Strawberry. 
Perfidy: Almond-Laurel. 
Perplexity : Love in a Mist. 
Persecution: Checkered Fritillary. 
Perseverance : Canary Glass. 
Persuasion: Althaea Frutex. 

Pity: Pine. 

Platonic or chaste Love : Acacia. 
Pleasure without Alloy : Moss- 
Rose. 

Plenty: Maize. 

Poetry : Sweet Brier, or Eglantine. 
Poor but happy: Vernal Grass. 
Popular Favour : Cistus. 

Poverty : Evergreen Clematis. 
Precaution : Golden Rod. 
Precocity: May-Rose. 

Preference : Rose-scentcd Gerani- 
um; Apple-Blossom. 

Presage : Small-Cape Marygold. 
Pretension: Willow-Herb, Lythrum. 
Privation: Myrobaluin. 

Profit: Cabbage. 


Prohibition: Privet. 

Prolific : Fig-Tree. 

Promptitude : Ten-Weeks'-Stock. 
Prosperity: Bryony. 

Protection: Juniper. 

Provident : Purple Clover. 

Prudence : Service-Tree, Mountain- 
Ash. 

Purification or Grace : Rue. 

Purity and Modesty : White Lily. 

Q. 

Quicksightedness : Hawkweed. 

R. 

Rarity: Mandrake. 

Reason : Goat's Rue. 

Reconciliation : Filbert. 

Refusal ; Striped Pink. 

Religious Enthusiasm : Lychnis. 
Religious Superstition : Passion- 
Flower. 

Resemblance : Spiked Speedwell. 
Reserve: Maple. 

Resignation : Indian Cress. 
Resistance : Tansy. 

Resolve the Riddle : Tremella Nos- 
toc. 

Restoration : Persicaria. 

Return of Happiness : Lily of the 
Valley. 

Revenge: Birdsfoot Trefoil. 
Revery : Flowering Fern. 

Reward of Virtue: A Garland of 
Roses. 

Reward of Merit : Bay-Wreath. 
Riches : Corn, Wheat. 

Rigour : Various-coloured Lantana. 
Rivalry: Rocket. 

Rosebay ; Dignity in Misfortune. 
Royalty: Angrec. 

Rupture, Dissension : Broken Straw. 
Rustic Beauty: French Honeysuc- 
kle. 


X 2 


270 FLORAL DICTIONARY. 


S. 

Sadness : Dead Leaves. 

Satire: Pepper-Plant. 

Sculpture : Hoya. 

Secrecy, Discretion: Maiden-Hair. 
Secret Love : Motherwort. 
Sensibility: Verbena. 

Sensitiveness : Mimosa. 

Sensuality : Spanish Jasmine. 
Separation : Ash- leaved Trumpet 
Flower. 

Soul of My Soul: Virginian Jas- 
mine. 

Serenade : Dew-Plant. 

Severity : Branch of Thorns. 
Sharpness, Sourness : Barberry. 

She will be Fashionable : Queen’s 
Rocket. 

Sickness : Field Anemone. 

Silence : White Rose. 

Simplicity: Wild or Dog Rose. 
Sincerity : Fern ; Garden Chervil. 
Singularity: Crested Amaranth. 
Skill, Adroitness: Spidpr-Ophrys. 
Sleep of the Heart : W ilite Poppy. 
Smiles: Crocus. 

Smile on me still : Sunflower. 
Snare: Dragon-Plant, Catch-Fly. 
Solace in Adversity : Evergreen 
Thorn. 

Solitude: Heath. 

Sorrow: Yew. 

Sorrowful Remembrances: Pheas- 
ant’s Eye, or Flos Adonis. 
Spiritual Beauty: Cherry-Tree-Blos- 
som. 

Splendour: Lobelia, Sumach. 
Spleen : Common Fumitory. 
Stoicism: Box. 

Strength: Cedar-Tree, Fennel. 
Submission : Grass. 

Success crown your Wishes: Coro- 
nilla. 


Superstitious Sanctity: St.-John’s- 
wort. 

Surprise : Betony, Truffle. 
Susceptibility : Wax- Plant. 
Suspicion : Mushroom. 

Sweet or mild Disposition: Mal- 
low. 

Sweet Remembrances : Periwin- 
k.e. 

Sweets to the Sweet : Daphne Odo- 
ra. 

Sympathy: Thrift. 

T. 

Talent : White Pink. 

Tardiness : Flax-leaved Goldy- 
Locks. 

Taste : Scarlet Fuchsia. 

Tears: Helenium. 

Thankfulness : Agrimony. 

The Arts : Acanthus. 

The Heart that knows not Love : 
White Rosebud. 

The Incense of a faithful Heart : 
Frankincense. 

The Light of our Path ; Follow me : 

Star of Bethlehem. 

The Perfection of human Loveli- 
ness : Justicia. 

The witching Soul of Music, hers : 
Oats. 

Think of me : Pansy or Heart’s- 
Ease. 

Thoughts of Heaven : Snowball. 
Time : White Poplar. 

Timidity : Marvel of Peru j Sens ; - 
tive Plant. 

Token: Laurentinus. 

Tranquillity : Rock-Madwort. 
Transient Happiness : Spiderwnrt 
Treachery : Bilberry. 

Treason: Whortleberry. 

True Love : Forget-me-not. 

Truth : Bittersweet-Nightshade. 


A 

\ 


FLORAL DICTIONARY. 271 


U. 

Unanimity: Phlox. 

Unbelief: Judas-Tree. 

Uneasiness : Garden-Marygold. 
Unfortunate Attachment: Scabius. 
Uselessness : Spirae Hypericum Fru- 
tex. 

1 ’tility : Dried Flax ; Grass. 

Y. 

Variety: China-Aster. 

Vice : Darnel or Ray Grass. 
Victory: Palm. 

Virgin Pride : Gentiana Fritillaria. 
Virtue: Mint. 

Voluptuousness: Tuberose. 
Voraciousness: Lupin. 

Vulgar Minds : African Marygold. 

W. 

War: Common Milfoil ; Yarrow. 
Weak but winning : Moschatel. 
Weakness : Musk-Crowfoot. 
Welcome to a Stranger : American 
Starwort. 

Will you pledge me? Sidesaddle- 
Flower. 

Win me and wear rne : Lady's Slip- 
per. 

Waiter: Guelder-Rose. 

Wisdom : White Mulberry-Tree. 
Writ: Ragged Robin. 

Wit ill-timed : Sorrel. 

Woodland Beauty : Sycamore. 
Worth beyond Beauty: Alyssum 
(Sweet). 


Y. 

You are cold: Hortensia. 

You are dazzling but dangerous: 
Snapdragon. 

You are my Divinity: American 
Cowslip. 

You are perfect: Pine-Apple. 

You are radiant with Charms : Ra- 
nunculus. 

You are the Queen of Coquettes: 
Queen's Rocket. 

You are without Pretension : Flo- 
ra's Bell ; Pasque Flower ; Rose 
Campion. 

You please all : Branch of Currants. 
You puzzle me : Love in a Mist. 
Your Blush has won me : Azalea. 
Your Frown I defy: Anemone. 
Your Image is engraven on my 
Heart : Spindle-Tree. 

Your looks freeze me: Ice-Plant. 4 
Your Presence revives me : Rose- 
mary. 

Your Presence softens my pain: 
Milk- Vetch. 

Your qualities surpass your charms : 
Mignionette. 

You shall have Justice: Sweet- 
scented Tussilage. 

Youth: White Lilac. 

Youthful Charms : Rosebud. 

You will cause my Death: Hem- 
lock. 

Z. 

Zealousness: Elder. 

Zest : Lemon. 




EXPLANATION OF THE PLATES. 

I. Rose. — Ivy. — Myrtle. — Frontispiece. 

To Beauty, Friendship, and Love. 

II. Jasmine . — Strawberry . — Tulip. — Page 51. 

Your amiability, and the excellence of your character, have compelled 
me to declare my love. 


III. Primrose. — Honeysuckle. — Mary gold. — Page 65. 

Be not too early entangled in the chains or love, or yours will be a 
life of inquietude. 

IY. Forget-me-not. — Cypress. — Pimpernel. — Page 93. 

Forget me not, for, alas ! we may never meet again. 

V. Scarlet Geranium. — Scarlet Ipomcea. — Laurustinus. — Page 111. 
In prefi mce, I attach myself to you, but shall die if neglected. 

VI. Balsam. — White Daisy. — Page 121. 

Be not impatient, I will think of it. 

VII. Myrtle. — Sweetbrier. — Lucern. — Page 145. 

Love is the poetry of life. 

VIII. Purple and Yellow Iris. — Hawthorn. — Page 157. 

I send you a message of love on the wings of hope. 

IX. Blue Violet. — Daisy. — Apple-Blossom. — Page 181. 

Your modesty and innocence secure you the preference. 

X. Crown Imperial and Turk’s Cap Lilies. — Lily of the Valley . — 

Page 197. 


You have the power to restore me to happiness. 


tf. I 


XI. Pansies. — Broom. — Page 213. 

My heart would be at ease, if my solitude were blest with your 

society. 




XII. Mignionette. — Heliotrope. — Pink. — Page 237. 

Your qualities surpass your charms ; I love you with a pure and de- 
voted love. 




INDEX. 


Absence the greatest of Evils 27 

Acanthus 28 

Acacia Rose 71 

Acacia 177 

A Garland of Roses 198 

Agrimony 224 

Agnus Castus 42 

Almond-Tree 126 

Almond-Laurel 174 

Amaranth 122 

Aloe 117 

American Cowslip 242 

Amaryllis 164 

Amaranth, Knights of the 122 

Anemone 243 

Anemone, Garden 95 

Angelica 135 

Antiquity of Language of Flora .... 20 

Apple-Blossom 180 

A Roseleaf 119 

Ash * 103 

Asphodel 105 

A Tuft of Moss 152 

Azalea 235 

Malm of Gilead 105 

Balsam 123 

Barberry 209 

Bee-Ophrys, or Orchis 77 

j llilberry 226 

' Bittersweet-Nightshade 227 

t : 


Black-Thorn 56 

Blue-Bottle Centaury 50 

Blue Canterbury-Bell 46 

Box 217 

Bramble 76 

Broken Straw 60 

Broom 166 

Buckbean 87 

Burgundy, Duke of 149 

Buttercups 128 

Butterfly-Weed 140 

Campanula, or Pyramidal Bellflower 224 

Candy-Tuft 124 

Canterbury-Bell, Blue 46 

Carnation, Yellow 59 

Centaury, Blue-Bottle 50 

Charles the Simple, Anecdote of ... . 60 

Chestnut-Tree 63 

China-Aster 230 

China-Rose 40 

Cinquefoil 170 

Circiea, or Enchanter’s Nightshade 182 

Columbine 91 

Common Stramonium 61 

Corinthian Column, Origin of ..... . 29 

Com 199 

Cornelian Cherry-Tree 63 

Crocus 212 

Crown Imperial 151 

Cypress 161 


274 - INDEX. 

V. 


Dahlia 106 

Daisy 23 

Garden 112 

Michaelmas 78 

White 120 

Dandelion 169 

Day Lily, Yellow 46 

Dead Leaves 203 

Dial of Flowers 13, 14 

Ebony 107 

Eglantine, or Sweet-Brier ......... 178 

Enchanter’s Nightshade 82 

Evening Primrose 123 

Feast of Tulip9 53 

Fennel 217 

Fern 208 

Ficoides 240 

Flos Adonis 215 

Floral Barometers 17 

Flower-Painting 22 

Flowers and their Sentiments 23 

Forget-me-not 94 

Singular Anecdote connect- 
ed with the Origin of its 

name 94 

Garden Anemone 95 

Garden Daisy 112 

Gentiana Fritillaria 230 

German Wedding Wreath 74 

Geranium, Rose-scented 182 

SoiTowful 155 

Grass 228 

Hare, Refuge for the hunted 31 

Hawthorn 106 

Hazel 192 

Ileart’s-Ease , 225 

Ileath 214 

Hygrometer, Floral 12 

Holly 91 

Honeysuckle 33 

Horse-Chestnut 149 

Hornbeam 167 

Hundred-leaved Rose 101 

H) acinth 97 

Ice- Plant 240 

Introduction 7 


Iris 156 

Yellow 85 

Isthmian Games at Rome 75 

Lry 96 

Jacob’s Ladder 47 

Jessamine, Virginian 205 

Juniper... 31 

Lady’s Slipper 232 

Language of Flora 20 

its Antiquity 20 

Rules for its Practice . . 24 
Laplanders, Singular Custom of the 153 

Laurel .... ..... 100 

Laurustinus HO 

Lilac 84 

White 236 

Lily of the Valley 195 

Lily, Water 72 

White 188 

Linden-Tree 48 

Lobelia 216 

Lucern 141 

Madder 41 

Madwort, Rock 226 

Magnolia 185 

Maiden-Hair 53 

Mallow 153 

Manchineel-Tree 78 

Mandrake 191 

Maple 193 

Marvel of Peru 223 

Marygold 133 

Small-Cape 182 

May-Day 19 

Melilot 55 

Mezereon 

Michaelmas-Daisy 78 

Mignionette 238 

Montagu, Lady Mary Wortley 22 

Monthly Rose 40 

Moschatel 231 

Moss-Rose no 

Motherwort 205 

Mulberry, White 233 

Mushroom 220 

Myosotis, or Mouse-Ear 94 

Myrtle 142 


INDEX 


275 


Moss, A Tuft of 152 

Myrtle, Wax 115 

Narcissus, Poet’s 69 

Nettle 51 

Night-blowing Cereus 81 

N /ghtingale,its Affection for the Rose 37 

Nightshade, Enchanters’ 82 

Nightshade, Bittersweet 227 

Nymphaea Lotus 72 

Olive 171 

Orange-Flower 41 

Orange-Tree 99 

Pansy 225 

Parsley 75 

Periwinkle 219 

Peruvian Heliotrope 115 

Pheasant’s Eye 215 

Phyllis and Demophoon 127 

Pimpernel 30 

Pine- Apple 241 

Pink 148 

Plum-Tree 139 

Poet’s Narcissus 69 

Pope’s Willow 155 

Poplar, White 222 

Poppy 44 

White 210 

Primrose 66 

Evening 123 

Privet 184 

Protection, Emblem of 31 

Reeds 163 

Romulus, A Presage of his future 

Greatness 64 

Rose 33 

Fabulous Account of its Birth 37 

Acacia 71 

Hundred-leaved 101 

Monthly 40 

Moss 176 

White 206 

Willow or Dog 207 

Yellow 125 

Rosebud 233 

White 222 


Roseleaf.l 119 

Roses, A Garland of 193 

Rosebay 57 

Rose-scented Geranium 182 

Sardony 135 

Scarlet Ipomoea, or Indian Jasmine 109 

Sentiment of Flowers 23 

Service-Tree 185 

Shepherd’s Weatherglass 30 

Sidesaddle-Flower 231 

Small-Cape Marygold 182 

Snapdragon 24! 

Snowdrop 43 

Sorrowful Geranium 155 

Spider-Ophrys 210 

Spindle-Tree 235 

Star of Bethlehem 89 

Strawberry 172 

Stramonium, Common 61 

Sunflower 210 

Sweet Soltan 83 

Sweet-scented Tussilage or Coltsfoot 138 

The Flower-Play 137 

The Rose in Ice 39 

The Southerner to a Yankee 186 

Thorn-Apple 55 

Thrift 221 

Tremella Nostoc 194 

Tulip 52 

Tulips, Feast of 53 

Tulipomania 54 

Venus’s Car 88 

Venus’s Flytrap 104 

Venus’s Looking-Glass 86 

Vervain 73 

Virginian Jessamine 205 

Vine 118 

Violet, Blue 159 

Walking-Leaf 108 

Wall-Flower 79 

Water-Lily 72 

Water-Star 32 

Wax-Myrtle 115 

Weatherglass, the Shepherd’s 30 

Weeping- Willow 154 




276 


xNDEX 


White Daisy 120 

White Lilac <>. 230 

White Lily 188 

White Mulberry 233 

White Poplar 222 

White Poppy 210 

White Rose 206 

White Rosebud 222 

Wild or Dog Rose 207 

Willow Herb 183 


Wood Sorrel 136 

Woodbine . . . 33 

Wormwood 27 

Yellow Day Lily 46 

Yellow Carnation 59 

Yellow Iris 85 

Yellow Rose 125 

Zeb, Doctor ’ . 119 




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